“Ordering it was one of my better life choices.”
“There’s a bit of background, so here it goes…
I’m a lifelong fiddle player. I’ve always loved the sound of the bouzouki, especially when accompanying a fiddle, but I never actually intended to get one.
My father, Seamus O’Kane, introduced me to Irish traditional music when I was a baby. He taught Craft, Technology and Design — woodwork in old money — and has been making bodhráns for over 50 years. He’s also a respected player with a distinctive style. I grew up helping him make drums, fascinated by how his designs evolved in pursuit of a particular sound. That early exposure sparked a lifelong interest in hand-crafted instruments and design. For my A-levels, I even made a working electric fiddle. More recently I built a “box” fiddle that I still play from time to time.
Years later, a friend from my Foundation Art and Design course — Alan Mayers — made a mandolin and traded it for one of my dad’s bodhráns. I got back in touch (mostly to scold him for that trade!) and asked him to make me a mandolin. He said he’d love to try building a bouzouki too, so I quickly asked him to make one — even though I didn’t play yet. I told him, “No, but I’ll learn if you make me one!”
While researching bouzoukis during that build in 2009, I came across your early YouTube videos. I was really impressed. A little while later, another friend, Marty McWilliams, who studied with me and knew you from Newcastle University, pointed me toward your work again. I suppose that’s when I decided I’d love to have one of your instruments. It wasn’t until several years later — when I saw a Facebook post of a bouzouki you were building at the start of the pandemic — that the stars aligned. I asked if it had an owner. It didn’t. And the rest is history.
I’ve followed your work for years. What always stood out to me was your innovative approach to design. Your instruments have a distinct, elegant look — you let the natural beauty of the wood shine rather than relying on flashy or fussy details. Sonically, I was struck by the clarity, tone, and projection — and fascinated by your design choices to get the best sound out of the soundboard. You’re clearly not afraid to take risks to get it right.
The instrument I originally ordered — a small-bodied bouzouki — was already underway. But when it was finished, you felt it didn’t meet your standard and didn’t want to sell it. That could have been disappointing, but I respected the integrity of that decision. You stood by your quality. It says a lot. You took a hit, but you learned something from it.
“Watching it take shape in sunny Australia while it rained back home in Ireland was a real buzz… Honestly, it’s exceeded my expectations — one of the better decisions I’ve made in life.”
Instead, you offered to build a large-bodied, spruce carved-top bouzouki using the same woods. I was completely on board. I’d seen the carved-top design in your other instruments, including the ones played by Ian Stephenson, Andy May, and Adam Rhodes, and I loved the look of the wenge. The only real customisation was a slightly narrower neck width. I hadn’t played one of your instruments before, but I trusted you — the sound, the feel, and the look were exactly what I was after.
Throughout the build we kept in regular contact via Messenger, and you posted progress photos from start to finish. Watching it take shape in sunny Australia while it rained back home in Ireland was a real buzz. The whole process was great craic. There were a few hold-ups when the Gold Coast weather played havoc with humidity, but that’s the reality of working with wood.
The bouzouki arrived in Belfast the very day I got home from the Ennis Trad Festival in November 2021. I picked it up straight from the docks — just over a mile from home. It was so well packed it took a bit of work to get it out! But once I did, I was absolutely delighted. It looked stunning. I remember the fresh smell of the wood as I strung it up and drew a plectrum across the strings for the first time. Thankfully, I had the day off work — and I gave it a serious playing. My daughter especially enjoyed bursting the bubble wrap when she got home from school.
Now that the instrument’s been played in, the sound has matured beautifully. It’s still thrilling to play. Clear, bright tone with a solid low end — well-balanced and full of character. I’ve added a few marks to the finish here and there, but this was always a player’s instrument, not a museum piece. It’s done a lot of session work, and the few times I’ve plugged it in, it’s sounded great amplified too. Honestly, it’s exceeded my expectations — one of the better decisions I’ve made in life.
I’d 100% recommend NK Forster Guitars to anyone looking for a high-quality, handmade instrument. The design is elegant, the craftsmanship is impeccable, and the tonewood pairings are always tasteful. If you’re thinking of ordering one, you won’t regret it.
One last thing: the bouzouki arrived on the first anniversary of the passing of my great friend Kevin “Dod” Dorris. We’d played together for 25 years, and he’d have been the first person I’d have taken it to — to hear his thoughts and compare it with his Sobell five-course. I think of him every time I play it.”
If you’ve been following my work from afar, like Ruadhrai did, and wondering whether the leap is worth it — maybe now is the time to begin the conversation. Ordering his bouzouki was one of his better life choices. It might be yours too. Click below and let’s make a start.