The response time of a regular [dynamic range] compressor is not fast enough to cope with the very steep attack of percussion. Steve’s limiter is an ultra-fast compressor which can cope with percussion. ( use a regular compressor for vocalists, rather than a limiter ).
If you have a separate track of the percussion on its own I would apply the limiter to that alone so none of the percussion hit noises exceed a threshold, [ this will cut back any occasional abnormally loud percussion sounds which will be difficult to deal with later if not dealt with at this stage ].
Applying the limiter to the final mix, as I did above, rather than the percussion track only, does damage the other sounds : the limiting effect applies to all the sounds on the track when the waveform goes above the threshold.
When mixing the final track my suggestion is have the percussion track at a much lower level in the mix than in your original of “tomorrow”, there shouldn’t be percussion spikes protruding way beyond the rest of the rest of the waveform, (e.g.)
[ If you have a look at the envelopes and frequency content (spectrum) of professionally recorded country music in Audacity it will give you clues about the volume and frequency content of the different components, it’s not cheating 
]
BTW IMO your (very good) singer, e.g. “rambling fever”, would benefit from being louder in the mix with a treble boost, e.g. approx 3dB-6dB boost in the range 4 to 8Khz, (via Audacity’s equalizer) . This treble boost should only be applied to the singer, not the entire final mix.