Ukulele Magazine Editor’s Note: Summer 2026
Considering its size, it’s no surprise that the ukulele travels well. And while it is remarkable how quickly it is often embraced when introduced to a new culture, that’s not exactly surprising, either. Something I am continually amazed by, however, is its adaptability to playing a wide variety of music from around the world.
The musics of Spain and Cuba took the long road—via Hawaii, then New Mexico— before finding a home on the four-string for Daniel Ward, the subject of our cover story in this issue. He transferred to ukulele his love of flamenco music and years of experience touring the world playing rumba on guitar, bringing with him a new approach to the instrument which has inspired multiple popular lesson books and albums of original music.
We also take a look at the world’s influence on the ukulele in a photo journey and historical essay on vintage uke designs. From Egypt to Japan and many points between, the public’s fascination with the world outside their borders in the early 20th century found its way into the artwork and even shape of ukuleles. The result is a snapshot of American culture that highlights what was popular at the time. I think of it like a high school yearbook—some of it may be cringeworthy, but it’s also kind of an anthropological study on things that have shaped the nation as a whole today.
When he contacted me about writing for the magazine, I had a hunch that Bartt Warburton would have something interesting to say. Even his emails are fun to read. His article on international uke fests (see p. 18) hits it out of the park, combining personal anecdotes from decades of performing as “Ukulele Bartt” with info on current gatherings taking place around the world. It honestly had me looking up prices for plane tickets and dreaming of strumming with new friends on the beach.
The lessons in this issue have some international flavor as well. There’s a mambo take on the syncopated rhythms of the Cuban tune “El Manisero (the Peanut Vendor)” arranged by Christopher Davis-Shannon; “Flower Drum Song,” a beautiful traditional Chinese melody presented by Marcy Marxer (side note: I highly recommend checking out her band From China to Appalachia for wonderful blending of the two cultures); and Brian Liu’s deep dive into the nuts and bolts of Hawaiian swing, also known as chalangalang.
Even the gear review in this issue has an international aroma. Kala’s Pan Pacific Figure 8 sopranos celebrate the 1915 Panama-Pacific International Exposition in San Francisco, which played a big role in the ukulele’s explosion in popularity on the mainland.
Elsewhere, we chat with Good Morning Bedlam about their genre-crossing folk music and how ukulele plays a role in their songwriting. While their music certainly does feature ukulele in memorable ways, I found it interesting to learn how it’s used behind the scenes in ways that don’t always show up on the recordings. There are many more articles, plus letters from readers, to explore in these pages, too.
Inspired by our theme (and my constant daydreaming while putting together this issue), I’d like to know your dream locale for an ukulele festival. Leave a comment below and let’s start planning that itinerary!
—Nick Grizzle, Editor
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