Review: Kala 20th Anniversary Tenors Show What the Company Does Best, Affordable Quality
TEXT BY NICOLAS GRIZZLE | VIDEO DEMO BY DANI JOY & PERRY STAUFER | PHOTOS BY DANIEL CRONIN | FROM THE SUMMER 2025 ISSUE OF UKULELE MAGAZINE
It’s wild to me that Kala is only 20 years old. Growing up as a musician near Kala’s hometown of Petaluma, California, it seems like they’ve been around since I started taking notice of ukuleles in general. Given its proximity to my locale, and the absurd amount of time I spent hanging out in music stores in my formative years, it’s likely there may be a connection there. But I look around now to find Kala is one of the largest ukulele manufacturers in the world, with instruments for every player from curious beginner to full-time pro.
This year, the company released two 20th Anniversary models: a spruce-top with quilted sapele back and sides, and a koa-top with mahogany back and sides. I was sent the tenor size of each to review, and found them to be a great representation of what Kala does so well: instruments that feel and sound more expensive than they actually are.
First Impressions
The light color of the spruce-top really pops thanks to the dark rosewood binding. The abalone rosette is just the right width and style for this instrument, keeping the spruce looking classy while adding a touch of color to the top. The back and sides literally shimmer when moved in the light thanks to the quilted sapele Kala chose for this model—a first for the company on any instrument—and the high-gloss finish.
Sapele is a sustainable tonewood with similar looks and sound to mahogany. It’s becoming more common in instruments these days but I’ve rarely, if ever, seen quilted sapele on an instrument like this. Quilted woods have an appearance that is reminiscent to me of rippling water in a slight breeze. Its reflection dances in the light and gives an appearance of movement. I’m not sure if quilting imparts any sonic characteristics, but visually it gives a feeling of luxury. The effect here with sapele is stunning, and contributes to the feeling that this should be a more expensive instrument.
The koa-top model oozes luxury. The koa on my review model was absolutely gorgeous, with a decent amount of figuring in the wood giving a subtle shimmer in the light through the high-gloss finish. (Kala says company founder and president Mike Upton searched through its private stock of wood and hand-selected each top set for these models.)
The abalone rosette and purfling adds to the glimmer in the light. The purfling extends around the neck and headstock, too. The comfort edge is a dark brown rosewood that contrasts with the warm, reddish-brown koa top. The African mahogany back and sides offered a classic golden-brown woodgrain look, with some slight figuring. The back on my review model was book-matched beautifully.
Both models have an 18-fret ebony fingerboard with abalone dots and an ebony bridge. Both also feature the same headstock inlay of a golden poppy, the state flower of California, with three golden flowers blooming from the green stem and leaves. It’s a beautiful nod to Kala’s California roots (and a nostalgic reminder of my own hometown in the springtime).
While the high-gloss finish beautifully highlights the wood, it is prone to collecting fingerprints. That’s easy to remedy with a quick wipedown with a microfiber cloth, but it’s always been a nitpicky pet peeve of mine.
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Sound and Playability
Both models were a joy to play, and each has its own sonic signature. Both had a buttery smooth feel on the fretboard and the D’Addario Fluorocarbon strings felt great under my fingers. The satin neck of the koa initially felt a little smoother to play than the high-gloss finish of the spruce-top, but after playing for a few minutes, the difference was barely noticeable. Most of the differences between these two models, aside from looks, was in their sound.
The spruce had a good amount of midrange and top end. Each note was clear and even when strummed and picked. It was a bit brighter, and perhaps a touch louder, than the koa both when I played it and listened back to recordings. The koa had a bell-like clarity that is hard to describe, but suffice to say, made my ears happy. Sonically, it had an even timbre that was warm without being overly full on the low end. It had a touch less sustain than the spruce, but that might change as the wood opens up over time.
I didn’t think the comfort edge on the koa model would make much of a difference to me, but I was wrong. After practicing a chord progression for half an hour straight on each instrument, that little bevel really earned its name—it was indeed more comfortable, and made practicing a repetitious exercise more enjoyable.
The chrome, open-back tuners on the spruce uke are smooth and made fine-
tuning a breeze. The gold Grover tuners on the koa were a little tighter, and felt like I was able to make finer tuning adjustments quicker. Both held tune equally well—that is to say, once I got them tuned up I didn’t have to really fuss with the tuning at all. Such is to be expected on instruments of this quality. Both came with a custom 20th Anniversary logo padded gig bag. The bag for the koa-top is red inside, which doesn’t really make a difference but just feels a little fancier.
Wrapping Up
Kala’s ukes at this price point are generally quite good, but these feel like special instruments. Not only are they beautiful with a one-off inlay and a 20th anniversary logo bag, both are a delight to play. An ukulele often makes for a beautiful “functional art” piece to hang on the wall and play from time to time, especially if it’s meaningful and visually appealing. But being so wonderfully playable, anyone who acquires one of these instruments for that purpose shouldn’t be surprised if it finds more time in the hands than on the wall. It will be interesting to see how Kala tops this in another 20 years with its 40th anniversary models.
Editor’s note: As we went to press with this issue, we received this note from Kala: “Due to the tariff situation we may be experiencing delays on getting these ukes into the market.”
KOA-TOP SPECS
BODY Solid koa top and solid mahogany back and sides; high gloss finish; abalone purfling and rosette
NECK African mahogany; satin finish; 16-7/8″ scale; 1-7/16″ nut width; 18-fret ebony fingerboard; abalone dots; abalone purfling on neck and headstock; Golden poppy inlay on ebony headplate; ebony bridge; Grover Sta-Tite open back 1:18 tuners; bone nut and saddle
OTHER D’Addario Fluorocarbon strings (high G); padded gig bag
MADE IN China
PRICE $599 street
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SPRUCE-TOP SPECS
BODY Solid spruce top and quilted sapele back and sides; high gloss finish; abalone rosette
NECK Okoume; high gloss finish; 16-7/8″ scale; 1-7/16″ nut width; 18-fret ebony fingerboard; abalone dots; Golden poppy inlay on rosewood headplate; ebony bridge; chrome open back 1:14 tuners; Nubone nut and saddle
OTHER D’Addario Fluorocarbon strings (high G); padded gig bag
MADE IN China
PRICE $399 street
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