Taiwanese, LA-Based Singer and Guitarist Ponpon
Ponpon is a Taipei-born, Los Angeles-based artist blending jazz guitar, scat singing, and storytelling into a sound that’s drawing global attention.
Since age thirteen, she has performed on many of the world’s stages, including Frank Vignola’s Guitar Night at the Birdland Theater in New York.
JB: Briefly tell me about yourself. You were born and raised in Taipei, Taiwan. When did you start to play guitar, and in those early years, what was most helpful in your personal development as a guitarist?
PC: I was born and raised in Taipei, Taiwan, and I’m now based in Los Angeles. I started singing when I was 12, but I didn’t pick up the guitar until 2021. I came across a live performance by my hero, George Benson, and I was immediately drawn to how he combined singing and guitar playing, especially during his solos. My dad bought me my first electric guitar and found me a teacher, and that’s how my guitar journey began. I think focus and patience are very important when learning something new. I also constantly remind myself to stay curious, reflect on where I am, and think about what I can improve.
JB: In Taiwan, what were some of the performance opportunities you had as a twelve-year-old?
PC: I started entering singing competitions in Taiwan when I was twelve, and by fifteen, I was performing and competing on television. Those opportunities eventually took me to stages throughout Taiwan and China. Those experiences really broadened my horizons and made me even more certain about what I wanted to pursue.
JB: Did studying music bring you to Los Angeles? Did you go to college?
PC: I attended college in Taiwan for a year before taking a break from school. I eventually came to Los Angeles specifically to study guitar. The original plan was to enroll in a one-year program and then go back home, but along the way, I was very fortunate to meet a wonderful group of friends, mentors, and musicians. I later received my work visa, and somewhat unexpectedly, Los Angeles became home. I decided to stay and start building my career here.
JB: To you personally, what are three of the most influential jazz guitar albums that shaped your personal development as a guitarist, and why?
JB: The first album would be The George Benson Cookbook. I love so many of George Benson’s records, but this one really highlights his guitar playing. Whether it’s his harmonic choices or his single-note lines, you can immediately recognize his own sound and personality. I really admire that individuality, and I’m working toward it in my own playing as well. Second, I’d choose Duets by Jimmy Raney and Doug Raney. I love the sound and playing of both of them, and I’m especially drawn to the musical conversation between them on this record—the way they listen, interact, and respond to each other. I’ve learned a lot from this album, from how to accompany another musician to how to develop ideas through improvisation. The third would be The Poll Winners with Barney Kessel, Ray Brown, and Shelly Manne. There’s so much to learn from the way these three masters interact, especially their sense of space and how naturally they respond to one another. Barney Kessel’s playing has also been a great source of inspiration for me, particularly his chord melody playing and his solos. I always find something new to learn from this record.
JB: What brought about the ABC World News Polka?
PC: The writer of “World News Polka,” who also works at ABC News, reached out to me after seeing some of my performance clips online. He told me he enjoyed what I was doing and invited me and my band to create our own arrangement and interpretation of the theme. That’s how the whole project came together.
JB: When did you first meet Frank Vignola, and what is it like working with him?
PC: When I first came to the U.S. four years ago, I was still in music school, and I watched Frank Vignola’s videos to learn jazz guitar. The following year, I finally worked up the courage to sign up for his guitar camp, and that’s how we met.
Frank has been an incredible mentor to me. He’s taught me so much and has always been so supportive. Getting to perform with him honestly feels like a dream come true. I never imagined that one day I would share the stage with someone I used to watch in the practice room just a few years earlier. Playing with him is always fun, relaxed, and exciting, and every time I see him, I learn something new.
JB: What special musical satisfaction do you find in singing without playing guitar, as opposed to fronting a band as a singer-guitarist?
PC: At this point, singing without playing guitar still feels a little more natural to me. I’ve been singing for about 12 years, while I’ve only been seriously studying jazz guitar for around four years. When I’m just singing, I can focus completely on my voice and the music. With the guitar, there’s still so much for me to learn, but I really enjoy the process of growing as both a singer and a guitarist.
Before I moved to the U.S., I remember telling myself, “One day, I want to tell people that I’m a singer, but I can play guitar!” That’s still something I’m working toward, and I’m excited to see where it takes me.
JB: It appears that you play a Gibson ES-175. Tell us about some of the guitars you play the most.
PC: The ES-175 was my first jazz guitar, and it has a very special story. It belonged to my first guitar teacher in Taiwan, who lent it to me to support and encourage me as I learned. It also means a lot to me because so many of the guitarists I admire have played an ES-175.
Earlier this year, Gibson gave me an ES-339. Its smaller body makes it very comfortable for me to play onstage, especially while singing. I love the sound and character of both guitars, and each one is special to me in a different way.
JB: With the current realities of contemporary radio stations, what are some of your greatest challenges in getting your music “out there”?
PC: I think social media is probably the fastest way for musicians to be heard today. Sharing clips from practice sessions, recordings, or live performances gives your music a chance to reach people worldwide.
For me, though, that was actually a challenge at first. I’m a fairly private person, so even posting about my life or sharing performance clips online came with a certain amount of pressure. Over time, I’ve realized how powerful authenticity can be. Especially as technology advances so quickly, I think people are still drawn to something that feels real.
JB: Tell us about what kind of gigs you would do in a typical month.
PC: Right now, I’m preparing for my first Asia tour this October, which I’m very excited about. When I’m home in Los Angeles, I usually perform concerts, private events, swing dance events, and occasionally festivals. Every month can look a little different, which is one of the things I enjoy about being a working musician.
JB: Los Angeles is a town with scores of good guitarists, so as a young guitarist, what’s the best piece of advice you’d give another young guitarist for building a career in music?
PC: I’d like to pass along one piece of advice George Benson gave me: “You gonna find your own sound, your own voice! That’s what I want to hear! And just keep doing what you do.”
That has really stayed with me. There are so many incredible musicians out there, especially in a city like Los Angeles, but I think finding our own voice and continuing to develop it is one of the most important things we can do.
