D’Angelico Premier Brighton review

A solidbody double-cut that does things a little differently

  • £699
  • €799

MusicRadar Verdict

A refreshing take on the double-cut formula that's a must-try for rock and blues guitarists seeking to stand out.


  • +

    Great execution of a new outline.

  • +

    Versatile sounds.

  • +

    Excellent playability.


  • -

    Looks a bit strange where the unfinished rear of the neck meets the body.

  • -

    Neck pickup is a little dark.

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Since D’Angelico introduced its first solidbodies last year, we’ve been big fans of its fresh approach to guitar design, melding aspects of tried-and-tested formats with inspiring new shapes. 

The Brighton is the latest to join the mid-priced Premier line-up and, although it looks to be the most conventional yet, the features it shares with its D’Angelico brethren set it apart from the crowd.

That shape, then: the Brighton’s horns echo a 335, but the body has a whiff of Yamaha’s SG2000 and Revstar outlines, albeit packing Florentine rather than Venetian cutaways, and a lighter weight owing to the basswood construction and a welcome belly cut around the rear. 

Yet rather than the painted, chunky neck you might expect from such a design, the Brighton mirrors D’Angelico’s other Premier solidbodies with a satin-finished slim-C maple neck more akin to a Strat. And like other humbucker-equipped solids, Seymour Duncan is behind the pickups, which are also packing coil-splits via the tone controls. 

The satin neck could divide opinion; it’s a little alien to a body shape like this, but quickly proves part of its charm

It’s a curious hybrid of specs - and we’ll concede it does look a little odd where the unpainted set neck joins the finished body - but as an instrument, it just feels… right. Up close, it’s a beauty, too: the binding around the fingerboard and body is another nice visual touch and, while we did note some slight untidiness around the ’board binding and sharp nut edges, the Ocean Turquose finish is flawless. 

The satin neck could divide opinion; it’s a little alien to a body shape like this, but quickly proves part of its charm, enabling speedier position shifts while retaining the satisfying buttery feel of a 24.75” tune-o-matic bridge setup. Don’t underestimate the benefits of those cutaways, either; you may find yourself spending more time at the widdly end with that unlimited access. 

The Brighton is surprisingly resonant unplugged, and there’s a real midrange bark to its plugged-in tones. Like the last D’Angelico we looked at, the neck humbucker is a little dark, but splitting the coils brightens it up considerably. That bridge humbucker will please blues and rock fans no end, with a raw, mid-output snarl that lends itself well to vintage styles and grungier tonalities, while those splits add just the right amount of glassiness for fat, compressed single-coil tones that make this more than capable of funk. 

In a lot of ways, the Brighton is D’Angelico’s most successful solidbody yet: it’s familiar, while adding enough new ideas to set it apart from the competition. 

Michael Astley-Brown

Mike is Editor-in-Chief of GuitarWorld.com, in addition to being an offset fiend and recovering pedal addict. He has a master's degree in journalism, and has spent the past decade writing and editing for guitar publications including MusicRadar, Total Guitar and Guitarist, as well as a decade-and-a-half performing in bands of variable genre (and quality). In his free time, you'll find him making progressive instrumental rock under the nom de plume Maebe.