folk music | TOSINGER'S BLOG

Lap Steel

Lap Steel Guitar

Lap steel guitar
The lap steel guitar is a type of steel guitar which is typically played with the instrument in a horizontal position on the performer’s lap or otherwise supported. The performer changes pitch by pressing a metal or glass bar against the strings as opposed to a traditional guitar where the performer’s fingertips press the strings against frets. The bar placed against the strings is called a “steel” or “tone bar”. – Wiki

My name is Tosinger. I am a Nigerian singer/songwriter based in Atlanta, Georgia.

I believe I will be the first Nigerian female artist to learn, write songs and perform with the Lap Steel Guitar otherwise known as the Hawaiian Guitar. Please let me know of any contentions in the comment section. I am writing this post just to register it on the blogosphere, internet and digital world.

I did not pick up this instrument to be a first of anything. I already could play some other instruments on the basic level including the talking drum, acoustic guitar and keyboard by ear. I picked it because I ABSOLUTELY LOVE IT. I have always love the sound of it in Nigerian Juju music as made popular by King Sunny Ade. Read more about it here as to how and who started playing it in Lagos, Nigeria. I felt one with it and at home with it. It is said to be more challenging but I find it more comfortable for me, even more so than the acoustic. Before my legendary beloved musical Papa Majek Fashek passed, he made me promise him that I will pick up the guitar and focus on it as my main instrument. I will fulfill this promise in his memory.

Lap steel is widely used in American folk, country, western and blues music. Here is a list of only five female country music players, all white, that I could find on the web that play the lap steel. I googled “female lap steel guitarists” and didn’t see a single black woman. Googled some more and this article showed a more diverse list, albeit very inspiring pioneers, still no Black/African (See link -> https://sheshreds.com/issue-13-history-steel-guitar/#comment-48321) even no mention of those from the sacred steel music tradition. I do not see them on the mainstream scene. There are many other types of guitars and numerous wonderful female players but not of the lap steel, which may be considered obsolete but not on my watch.

I pay homage to Sister Rosetta Tharpe the Godmother of RocknRoll considered the first black female guitarist and Peggy Jones aka Lady Bo the Queen Mother of Guitar, one of the first (perhaps the first) female rock guitarists in a highly visible rock band, Bo Diddley’s band (Wiki)

Big ups to Fatoumata Diawara on the electric and Helen Ibe also representing Africa nicely on her guitar with the younger afrobeats millenial generation.

I documented my growing journey via Facebook, Instagram, Youtube and Twitter with albeit amateur mobile videos, days 1-30. I am 43 as at 2020 when I focused on the lap steel. I challenged to touch it for 30 days consecutively, even after 30 days, a day will not go by (until the day that I leave this earth) that I will not touch the lap steel except for absolutely unavoidable reasons.

I hope to bless the world with new songs written on it and play and perform and warm hearts with it as long as I do music. So help me God.

Thanks for coming to my Ted Talk 🙂 . Check out my home on the web at http://www.tosinger.com for more about me and my music.

Love, Peace and Beautiful Music,

Tosinger

MY FIRST LAP STEEL GUITAR

MY FIRST BABY, MY FIRST LAP STEEL GUITAR. I CHOSE THE COLOR RED BECAUSE I WANTED TO FEEL EMPOWERED AS I LEARN IT.

Update

So I continue to dig deeper, haven’t found an African/Nigerian yet, but I found this African American sister, Nikki Brown, and I daresay there might be more in the church that play the type of lap steel called “Sacred Steel” of the Sacred Steel tradition of COGIC.

Nigeria’s international musician, Bisade Ologunde popularly known as Lagbaja embarked on a month-long tour of the United States of America. The tour will see Lagbaja and his 8 piece Motherland band perform at 15 different cities. It ends on May 17, 2015 at Washington DC.

I will be opening for him in Atlanta on May 10 at the popular concert space – The Variety Playhouse. Click here for more info

Atlanta based, eclectic afrosoulful artist, Tosinger. opens for legendary afrobeat/afrojazz artist from Nigeria – Lagbaja on May 10 at 7pm at the Variety Playhouse, Atlanta

Windstorm Productions Proudly Presents

LAGBAJA

The first question that is often asked when Lágbájá is encountered is, “Why the mask?” Basically, Lágbájá’s mask is used as an icon of man’s facelessness.

Lágbájá is a Yoruba word that means somebody, nobody, anybody or everybody. It perfectly depicts the anonymity of the so called “common man”. The mask and the name symbolize the faceless, the voiceless in the society, particularly in Africa. Once you see Lágbájá’s mask you are reminded of your own facelessness. This symbolism is so powerful that Lágbájá’s mask has popularized the use of the mask concept by other artistes both in Nigeria and beyond.

Though the concept was developed long before that, his first album (entitled Lágbájá) was released to National acclaim in 1993. Over the years and more albums later, the music continues to fascinate with its unique focus on a core of African drums. His music is a product of various influences ranging from traditional Yoruba music to Jazz. Often the music is purely instrumental- an interplay between traditional Yoruba percussions, drums, chants, and western instruments, especially the saxophone. When there are lyrics, they are primarily sung in Yoruba, English or a blend of the two as is colloquially spoken in Yoruba cities. Many of his songs dwell on serious social issues, while others simply entertain. Some are dance inducing while others pass serious messages in humourous ways.

One thing that links all the songs together is his use of traditional African drums. Traditional Yoruba drums are the most prominent. Four families of these drums are employed in creating different grooves and moods. The dundun/gangan family is the most prominent and at times up to five drummers combine all the various components to create the polyrhythms. The bata ensemble is led by two musicians who alternate between soft high toned driving rhythms with their omele bata, and thunderous loud talk with their mum drum- iya ilu. The general percussionist leads the sakara ensemble. The fourth family, used as the backbone of the groove is the ogido, a derivative of the ancient gbedu. The ensemble of drummers constitute the larger part of the band. Vocalists and western instrumentalists make up the rest. Lágbájá’s groovy fusion has been refered to as afrojazz, afrobeat, higherlife and afropop until now that he himself has christened the music AFRICANO, alluding mostly to the central role of African drums and grooves in his music.

Experience Lágbájá! (video)

Sunday, MAy 10, 8pm, $25 advance / $30 day of show

Tickets available at the Variety Playhouse Box Office and all Ticketmaster Outlets.
Order by phone at 800-745-3000 or online here.