What is John Dolmayan’s net worth?
John Dolmayan is a Lebanese Armenian-American songwriter and drummer who has a net worth of $16 million. John Dolmayan is best known as the hard-hitting drummer of the Grammy-winning rock band System of a Down, a group that fused metal, punk, and Middle Eastern influences into one of the most distinct sounds of the 2000s. Known for his complex rhythms, precise fills, and explosive live performances, Dolmayan helped shape the sonic identity of the band during its rise from underground cult favorites to global rock icons. In addition to his work with System of a Down, he has performed with other projects, launched his own comic book business, and become a controversial figure for his outspoken political views. Throughout it all, Dolmayan has remained a vital, unpredictable, and technically gifted musician.
Early Life and Musical Beginnings
John Dolmayan was born on July 15, 1973, in Beirut, Lebanon, to Armenian parents. His father, a saxophonist, exposed him to music at an early age, particularly jazz and classical. The family fled the Lebanese Civil War when John was still a toddler and resettled in California. Growing up in Los Angeles, Dolmayan became immersed in rock and metal, developing a deep admiration for drummers like Keith Moon, Neil Peart, and John Bonham.
He began playing drums around age 8, using a drum kit his father bought him. By his teens, Dolmayan was a dedicated and disciplined musician, performing in local bands and refining his style through relentless practice. His aggressive yet fluid technique caught the attention of other musicians in the L.A. rock scene.
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System of a Down
Dolmayan joined System of a Down in 1997, replacing their original drummer before the band had recorded its debut album. The group—comprising Serj Tankian (vocals), Daron Malakian (guitar), Shavo Odadjian (bass), and Dolmayan—was already generating buzz for its eccentric performances and politically charged lyrics.
Their self-titled debut album, “System of a Down” (1998), introduced listeners to a volatile mix of thrash riffs, Armenian folk melodies, and anarchic vocal shifts. But it was their second album, “Toxicity” (2001), that launched the band to stardom. Featuring hits like “Chop Suey!,” “Aerials,” and “Toxicity,” the record debuted at number one on the Billboard 200 and became a multi-platinum success.
Dolmayan’s drumming on “Toxicity” was a revelation—rhythmically daring, rhythmically precise, and always propulsive. His work became central to the band’s signature sound: chaotic yet tight, complex yet groove-driven.
System of a Down followed up with the albums “Steal This Album!” (2002), “Mezmerize” (2005), and “Hypnotize” (2005). Each expanded the band’s musical palette while deepening their socio-political commentary. The band went on hiatus in 2006, at the peak of its popularity.

(Photo by Francesco Castaldo/Archivio Francesco Castaldo/Mondadori via Getty Images)
Other Musical Projects
During System of a Down’s hiatus, Dolmayan remained musically active. He joined Scars on Broadway, a side project led by Daron Malakian, and played on their 2008 self-titled album. He also founded a band called Indicator, although the project never reached commercial release.
In 2009, he launched a solo covers project, “These Grey Men.” The album, which was released in 2020 after a successful Kickstarter campaign, featured eclectic reinterpretations of songs by artists like Radiohead, Eminem, and David Bowie. The project included guest appearances from Serj Tankian and other musicians from the rock world.
Dolmayan has also been known to collaborate as a session drummer, lending his skills to a variety of recordings and live performances.
Business Ventures
Outside of music, Dolmayan is a devoted comic book collector and entrepreneur. He owns and operates Torpedo Comics, a retail store with locations in Las Vegas and beyond. The store specializes in rare and vintage comics and has become a popular destination for fans and collectors alike.
Dolmayan has spoken at length about his love of comic art and storytelling, often drawing parallels between the visual intensity of comics and the theatricality of rock music.
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