“If I can help wake up a new generation of African or female players, that makes me twice as proud”: Fatoumata Diawara on Hendrix’s genius, the making of her Epiphone SG – and the message she wants it to send

Fatoumata Diawara’s signature Epiphone SG is one of the most exciting Epiphone guitars we have seen in recent years. It’s one of the most exciting signature guitars we’ve seen, featuring a graphic finish on red that speaks to the Grammy-nominated artist’s Malian heritage.

But it’s more than just a pretty face. With its expanded control setup, a Custom C neck profile that’s supremely comfortable, and a gig-ready build, it is one serious instrument for $699 street.

Here, we speak to Diawara about how she has made history with this SG, and what drew her to the model in the first place, and learn how Jimi Hendrix inspired her to blaze her own trail.

You must be very proud to make history as the first woman of colour to have an Epiphone signature model.

I can’t believe it, especially in times like this where music is totally changing. More and more people are using electronic equipment, even in Africa. So I feel like this signature is a good message for the world. I hope this goes on to encourage future generations.

That’s why I’m so happy – not only for me because I’m writing my own history – but if I can help wake up a new generation of African or female players, that makes me twice as proud. People following me will see this guitar and say, ‘Okay, it’s possible for a Black woman to do this!’

Some people think a woman’s only project is to get married, that’s the only thing they are meant to do. I’ve seen that in Mali, Senegal, a lot of West Africa, so I want this model to have a big impact. I want to show people that women can play instruments and change those old perceptions.

Because a lot of people think if a woman works in music, she can only be a singer, rather than play traditional instruments like the kora or ngoni.

People think women are too impure to capture music in a spiritual way and that then makes them think they are not allowed to touch or play the instruments. So yes, this is a historic moment.

So what drew you to the SG?

I like SGs because they are light and sound amazing, plus I find the shape attractive. I’ve used a lot of guitars in the past, but an SG will make me feel more comfortable and play better.

I love the colour scheme we came up with for this signature – it’s like a painting. The design was inspired by African fabrics; it’s mainly red with a touch of yellow and black.

You just look at it and feel the good vibrations. It’s all about being at one with the world and living in peace. It’s totally me and reflects how I sing, think, look and dress. I usually stay on the bridge pickup when recording and performing.

What kind of things are you plugging this SG into?

I’ve been mainly using a Fender amp on stage, but that’s going to be changing soon as I now have a Supro Black Magick Reverb. It’s my new favourite.

I like to keep finding new things in order to improve my sound. The same goes for pedals – I’ve got so many and keep switching them. But I guess the one pedal I couldn’t live without is my wah-wah.

And who is your biggest hero as a guitarist?

It has to be Jimi Hendrix because everybody wishes they could play like him. I don’t think anyone has changed the world as much with their guitar. I’m trying to do something similar through my own music, using my personality to create, and inspiring people in the process.

It’s all about finding your own sound, something that’s completely unique to you. I’m learning by myself and trying not to listen to other people.

I didn’t study anything; I’m just making it up as I go along, finding my way through the blues. It’s more about the human soul, emotion and self-expression. I just want to play from the heart. It’s about quality, not quantity. That’s what Jimi did.

• “Great neck shape, playability and setup – and it’s gig-ready, something we don’t always say about Epiphone, or indeed Gibson”: Epiphone Fatoumata Diawara SG review
• This article first appeared in Guitarist. Subscribe and save.