It strikes a chord of melancholy when observing the shifting tides in Hawaiian music, particularly the ascent of the ukulele and slack key guitar while the iconic “Hawaiian Steel Guitar” seems to recede from the limelight. As a performer at numerous Hawaiian-themed gatherings – often mislabeled as Luaus – I’ve personally witnessed this evolving soundscape. Armed with my Hawaiian steel guitar, I frequently share the stage with hula dancers or Polynesian troupes, only to find their graceful movements are often synchronized to pre-recorded music saturated with drums and slack key guitar, conspicuously devoid of the steel guitar’s distinctive voice.
While the label “Hapa Haole” music, often applied to my renditions of classic Hawaiian hits from the past century, doesn’t offend – perhaps acknowledging my position as a non-native musician interpreting this genre – it does underscore a point. The explanation offered is that traditional Hawaiian music was primarily percussive before European instruments graced the islands.
Yet, the enthusiastic reception my steel guitar melodies receive from audiences suggests a different narrative. Tunes like “Pearly Shells,” “Tiny Bubbles,” “Blue Hawaii,” “Little Grass Shack,” and “Sweet Leilani,” though perhaps not “authentic native” in the strictest sense, clearly resonate and are deeply recognized as “Hawaiian Music” by many.
Alt text: A musician skillfully plays a Hawaiian steel guitar at a vibrant luau celebration, showcasing the instrument’s unique sound.
My recent sojourn in Hawaii further solidified this observation. Across various shows, lounge performances, Luaus, and Polynesian dance showcases, the Hawaiian steel guitar was conspicuously absent. A notable exception was the Polynesian Cultural Center’s Luau, where the talented Steve Cheney kept the steel guitar tradition alive.
It’s undeniable that the songs I cherish and perform belong to a bygone era – the golden age spanning the 1930s to 1960s. However, their enduring popularity, particularly among mainland audiences, firmly cements them within the “Hawaiian Music” canon. It appears, however, that within Hawaii itself, the ukulele has triumphantly emerged as the quintessential “sound” of the islands, potentially eclipsing the steel guitar in contemporary perception. Has the ukulele, with its cheerful and accessible charm, overshadowed the soulful and evocative tones of the Hawaiian steel guitar in the modern Hawaiian musical landscape? This evolving preference prompts reflection on the legacy and future of this significant instrument.
