Who are we playing for?

Dave Grafe · From: Hudson River Valley NY

I'm playing fun music of many genres throughout the Hudson River Valley and staying busy enough that my dog has his own fan club. Audiences like to hear us play Stones, Dead, Floyd, Elvis, and such, but we also cover with authority Hanks I-III, Merle, Willie, Waylon, Wynn Stewart, and Jerry Reed, even Burl Ives, all to equal appreciation. Every Tuesday night there's an excellent jazz jam in Poughkeepsie, so as a steel picker I have no shortage of focus and motivation as I continue to build chops 50+ years on.

Doug Beaumier · From: Northampton, MA

For the past five years I played with a busy local band, about 80 gigs a year, classic country, honky-tonk. Mixed crowds, and the seniors always took notice of the pedal steel, and they would come up and chat about steel guitar. The 30-somethings, not so much. The band broke up in January 2024, so I'm basically a home player now. That's fine with. At age 74 I don't enjoy hauling my gear around. I have only four gigs this entire year, all for country dance clubs. All old folks.
I'm still making videos for my YT channel and enjoying that. I get more satisfaction and more response from that than I do from playing in public nowadays.
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My Site / My YouTube Channel
25 Songs C6 Lap Steel / 25 MORE Songs C6 Lap Steel / 16 Songs, C6, A6, B11 / 60 Popular Melodies E9 Pedal Steel

Brett Day · From: Pickens, SC

I'm very happy leaving my steel set up at home because I don't have to take it anywhere and I can play whatever songs I feel like playing and don't have to worry about where to set up on a stage or anything and I don't have to worry about my amplifier settings getting out of place. A lot of guys in their thirties don't really think of the steel guitar, but I did and still do now. Even at the acoustic jam sessions I play now where I play dobro, I tell the other musicians and spectators that I'm also a steel guitarist and they get excited to know that I actually play dobro and pedal steel. A lady who plays bass at the Thursday night jam sessions I play told me she liked John Hughey and his playing and she had gone to the Southern Steel Guitar Convention, which was in Saluda, South Carolina around the time I was playing there, and she also told me she liked Paul Franklin's playing too! I love being a pedal steel guitarist!

John De Maille · From: On a Mountain in Upstate Halcottsville, N.Y.

Personally and quite selfishly, I play for myself. By that, I mean my sound, tone and how I execute my playing affects me first. I play roughly 50 gigs a year to mostly senior listemers and dancers. My main job is to back the singers and maybe get to shine on an instrumental break or two. However, even though I enjoy playing for these people, I'm e tertaining myself mostly. But, as Jim Cohen said it's nice to have someone come up to you from the crowd and tell you how much they've appreciated the steel and your playing. I've been entertaining and playing for people for 60 years now and it never really gets old even though I am getting old. It's getting close to quitting time I guess.

Tom Keller · From: Greeneville, TN, USA

Asking how the steel guitar gained such a foot hold in country music is like asking how the banjo became the primary instrument in Bluegrass.

Eric OHara · From: Port Kent, NY

Hi - as long as I’ve been playing steel the ebb and flow of its use has had as many valleys and peaks as the industry itself. In a recent show in Houston a lady came up to me and asked me “what’s that thing called?” I asked her “ are you from Houston?!”

In a live show First and foremost I play for whoever hires me. My goal is to try and make the artist and their songs shine. After all they are paying me and that’s who the folks are paying to see/hear.
In a studio setting it’s the same for the artist and their song but also the producer all while trying to remember to not overplay.

Second I play for the audience and hope I can convey the feeling and emotion of the song through my playing.

After that it’s for my enjoyment and fulfillment. I consciously, during each show, try to take a moment and take it all in - the venue, band, audience etc and try to be as present in the moment as I can. It’s easy to get caught up in all the road/touring background noise.

It definitely fills the soul when it all comes together. Can’t beat it. Love it!!
Whether listeners know what the instrument is or not I know they love the sound of it when they hear it live or recorded. EO
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GFI S-10 Ultra (GFI II pickup)
Sho-Bud Super Pro (wood necks) w/BL Pickups
RQ Jones Retrofit
Beard Decophonic 57/ Fishman JD preamp
Goodrich 6122-R
Walrus Slotva Reverb, JHS Thunderbolt, ZVEX fuzz factory
Evans JE-200, RE-150
Peavey Nashville 112, 400
Keal Cases

Fred Treece · From: California, USA

I have to say, most of these responses went a good bit deeper than I expected. Thanks to everyone. I think we have a good snapshot of what’s going on in the heads of players at various degrees of the amateur>>>>working professional curve.

Most everyone has mentioned their own version of the same thing - caring about the people we are playing as much as we do about making the pedal steel sound as good and fit the music as well as possible. Even if that person is your own self, that carries a lot of weight.

I am in sorta the same boat as John DeMaille, although 50 gigs a year would a full-time job for me. When I do get a chance to play in public, it’s usually a one-off thing that nobody ever pays me enough to go out of my way to mainly please them, so I do what makes me feel good about my playing and hope that it rubs off somehow on the maddening throngs crowded around me…

Regardless of who we are playing for, it seems most of us are willing, if not eager, to carry on. I would expect nothing less from the SGF faithful. You are all inspiring 😎

Dennis Detweiler · From: Solon, Iowa, US

Fred, it's an addiction. Smile

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1976 Birdseye U-12 MSA with Telonics 427 pickup, 1975 Birdseye U-12 MSA with Telonics X-12 pickup, Revelation preamp, Carbon Copy Delay and Hall Of Fame Reverb, Crown XLS 1002, 2- 15" Eminence Wheelhouse speakers, ShoBud Pedal, Effects Pedals. 1949 Epiphone D-8.

Brian Fox · From: Minnesota, USA

As a younger player ( middle age loll) here is my 2 cents.
I have been playing in a band since I started playing basically ( about 5 years) . I feel my band mates just want to hear me compliment the lyrics of the songs with licks . I have a band mate who is also insistent of sharing licks ( playing over me and vis Versa) IIam not a huge fan of using this approach in most applications and feel the steel should shine when called and back off when it needs too. Otherwise I feel it’s gets too muddy. There are groups that do this and do this well but I feel it needs to be done in good taste.

I typically have folks come up after I play a gig and talk about the instrument. Whether it’s just saying they love the sound or have curiosity in it .

I hope to attend or host steel shows or steel “ rounds” at some point in my area. The last few I have missed due to gig obligations. Confused

As far as extending boundaries and coming in musically from a rock and punk rock background I have seen the steel be introduced tastefully in other genres other than country. Americana music seems to be gaining popularity in the younger crowds and increasing interest in the instrument. I plan on one day thinking “outside the box” so to speak of the traditional sound.I plan on trying to apply it to other genres when the opportunity presents itself ,I will welcome the challenge . As of right now it’s Western swing , outlaw and Bakersfield sound I draw to. I feel the future is bright for the instrument but also am a little bias. Very Happy

Pete McAvity · From: St. Louis, Missouri USA

Myself. I play for me.

Practicing this instrument is my discipline, my meditation and my the work that keeps me from stagnating. Studying the history of the instrument is anthropology. sociology, music theory and contemplative practice.

I care about genres and styles just enough to apply what I've assimilated by learning from players from the pioneers to the contemporary avant garde. Whatever dialect I need to speak in order to communicate with other musicians in order to perform live, thats what I squeeze into. I'm not principled on specific eras, styles, sounds, or any other dogma that limits my growth (most of the time). It ain't easy to seperate yourself from expectations, but if you don't you end up a dissapointed half-assed jukebox. I think.
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Excel Superb D10, Sarno Black Box or Freeloader, Goodrich L120, Boss DD5, Baby Bloomer, 1965 Super Reverb chopped to a head, feeding a mystery PA cab w/ a K130.

They say "thats how it goes". I say "that ain't the way it stays!"

Phillip Hermans · From: Berkeley, California, USA

From my perspective the popularity of steel guitar has only increased since I first played a lap steel in 2006... although, big caveat, I am paying more attention now, so maybe it is just my perception that has changed.

It seems to me that country music, broadly as the term is used, has been growing in popularity. Beyonce and Post Malone released crossover albums, americana music continues to thrive and at least what I see in San Fransisco, even punkers go country. Recently I saw Luke Comb’ festival at the football stadium, and half of the acts had pedal steelers on stage. The big “bro country” artists were not doing that a decade ago!

Now, that doesn't even include the numerous other contexts I see and hear pedal steel guitar: film and tv scores, kids going viral on TikTok, academic composers writing pieces for the instrument… the rock band The Revivalists has a steel player, Slash is even playing steel now!

Tim Whitlock · From: Colorado, USA

As a steel player I thrive on the arcane. I'm thinking about taking up the harpsichord.

Dennis Detweiler · From: Solon, Iowa, US

I keep looking at my harmonica when I'm packing up my steel and the gear needed to play it while my geezer lumbar is twitching.
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1976 Birdseye U-12 MSA with Telonics 427 pickup, 1975 Birdseye U-12 MSA with Telonics X-12 pickup, Revelation preamp, Carbon Copy Delay and Hall Of Fame Reverb, Crown XLS 1002, 2- 15" Eminence Wheelhouse speakers, ShoBud Pedal, Effects Pedals. 1949 Epiphone D-8.

Larry Ball · From: Airdrie, Alberta, Canada

I am playing once a week with a group either at a gig or a rehearsal. I still love playing for a live audience and get a charge especially when someone comes up to the stage pointing a finger at my “Steel” saying “What’s That”
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Mullen SD10, Sho~Bud SD10 LDG, Show-Pro SD10 LDG, Peavey Nashville 112, Boss Katana 100 MK11, Telonic's F100 Multi-Taper Super Pro V/P, Wayne Brown “Custom Designed Amp”

Joseph Lazo · From: Wisconsin, USA

I'm playing for myself. I just want to get good enough to play with others someday.

Thing is, I don't think most people (non-musicians) even know what pedal steel or lap steel is. Fer instance, I have a neighbor who worked for years in the Country Music Hall of Fame. I showed her one of my lap steels once and she acted like she had never seen such a thing. I asked her if she had ever met any of the great pedal steel players in Nashville. She didn't know what a pedal steel guitar is!

Both lap and pedal steel seem to have fallen into near obscurity, although there will always be both traditionalists and experimentalists keeping the instrument on life support. The only thing that will bring about a revival is some pop star playing one. Yes, we had David Lindley, and we have Robert Rudolph, but they're niche artists. It will take someone with a much larger audience to make these instruments more interesting to the masses.

Part of the "problem" with lap steel and pedal steel, from an audience perspective, is that there's no "flash". The players sit down. There's no heroic guitar hero posing. No gyrating. No jumping around. They just sit there and play. For a lot of non musicians, that's boring.

Dave Stagner · From: Minnesota, USA

I like playing music for myself.

I like playing with other people.

I like playing for an audience.

These are three different things, with different goals and different demands.

For me, steel is something I do with and for other people. It's a band instrument, not a solo instrument. The solo time I put in on steel is mostly practice, learning new techniques and tunes, being prepared to play with a band or for a gig. When I'm playing music for my own pleasure (which I do every day), it's far more likely to be an acoustic guitar than anything else. I can play acoustic very freely and naturally, old songs or improvisation, and I love my own music that way.

Within a band, and especially in front of an audience, steel is more interesting and exciting than acoustic guitar most of the time. It makes a lot of classic repertoire "correct", and bandmates find it really interesting and enjoyable.

I have yet to find the people to do the band I want to do (basically mellow, ambient jam-band with pedal steel), but I keep looking. Until then, I'm happy playing hippie-tonk!
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I don’t believe in pixie dust, but I believe in magic.

1967 ZB D-10
1990 OMI Dobro
Recording King lap steel with Certano benders

Jim Pitman · From: Waterbury Ctr. VT 05677 USA

It's a sound that's tough to replicate with any other instrument. Therefore, I feel it will remain pertinent in some manner.

Alan Bidmade · From: Newcastle upon Tyne UK

I agree with Pete.
I play for me and me alone.
I did play a few sets with Liam Fender (brother of Sam Fender, who is/was big in the UK) but it didn't go very far.
PSG in the UK is as rare as hens' teeth.
I would love to find an acoustic guitarist/songwriter to play with - an amateur version of Mike Nesmith and Red Rhodes - (or the set Lloyd Green did recently) just to play with another musician. As it is, I play 'blocked chords' which doesn't really provide the beautiful harmonies (and counter-harmonies) that psg gives.
In the meantime, I clang on, bloodied but unbowed, and possibly the best steel guitarist in my village!
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Ben-Rom #017 'Lorelei', Guild D25, Epiphone 'Joe Pass', Roland 40XL, Hilton VP

First name Alan, but known as Nick

Alan Bidmade · From: Newcastle upon Tyne UK

Let me just add, British law says no more than two musicians can play in a pub, unless the pub/venue has a Music Licence.
With only two on the bandstand, there's no room for a pedal steel Crying or Very sad

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Ben-Rom #017 'Lorelei', Guild D25, Epiphone 'Joe Pass', Roland 40XL, Hilton VP

First name Alan, but known as Nick

Don R Brown · From: Rochester, New York, USA

Ron Pruter · From: Arizona, USA

My personal situation seems to be-
I'm retired' by popular demand'.
Oh Well

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Sam Inglis · From: United Kingdom

Roger Rettig · From: Naples, FL

I'm always interested in a thread started by Fred.

It's made me a bit nostalgic, reading all these varied responses.

I'd have to say that, now anyway, I play entirely for myself. Well, obviously, since I only play at home now that retirement has been forced upon me.

I still love the voice of the pedal-steel. Nothing can quite articulate thoughtful chord progressions like a steel. Now, when I sit down to play (every day, many times), I'm first looking for good intonation and a rich tone (I was never a fan of the earlier biting sound of PSGs in country music, even as much as I admired the exponents); if that pursuit slows my execution, then so-be-it.

Then I find myself recalling my job-description in countless recording situations, TV shows, radio - back in the '70s when I first added steel to my arsenal, mostly what they wanted was 'that sound'. They rarely gave me a score (but did sometimes!), trusting that I'd know the sort of thing they were after.

Then, my goals were clear; play in tune and play within your capabilities. Nothing exposes one's weaknesses like attempting something beyond your technique.

Through it all, though, while I was anxious to please the producer or MD, it was I who got a lift hearing a half-way decent take. I guess I have always played for myself - a good job, because now nobody's listening!! Smile

PS: Only yesterday, I came upon an old CD of BBC Radio sessions with a band we called 'Panhandle'; me and Gerry Hogan on steels, Graham Walker on guitar, Peter Baron on drums (not sure who's on bass). Dare I say it? It sounds pretty good. We even tackled 'Welephant Walk'!!

I wish I could play like that now. Sad

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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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Jim Pitman · From: Waterbury Ctr. VT 05677 USA

I play for myself mainly but once in a while i’ll pick out a really nice looking women in the audience and attempt to impress her. True confession. It’s Darwin ya know propagation of the species.

Roger Rettig · From: Naples, FL

How's that been working out for you, Jim?? Smile

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Roger Rettig: Emmons D10, B-bender Teles and Martins - and, at last, a Gibson Super 400!
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