When it comes to crafting iconic instruments, few names carry the legacy and artistry of D’Angelico Guitars. In this interview, we sit down with Justin Friedman, a key figure behind the brand’s modern innovations and creative vision. Justin shares insights into how D’Angelico honors its rich history while pushing boundaries to create guitars that inspire musicians today. Whether you’re a devoted guitarist or a fan of timeless craftsmanship, this conversation promises to strike a chord.

Our conversation with Justin has been edited for length and clarity.

We consider multiple factors when partnering with artists: touring activity, social presence, and authenticity. We also value proximity—being able to bring artists into our showroom to create content together strengthens relationships. Most importantly, we seek artists who genuinely love our instruments, not just those looking for sponsorships as a status symbol. Organic, long-term partnerships are our priority.

Justin Friedman

So, what was your first musical memory? When did you know you wanted to work in music?

Justin: I started as a jazz guitar player in high school. There was a teacher at my school who played jazz guitar, and he had some vintage guitars, including an old D’Angelico. When I was 15, I got to play it—it was like holding a piece of history. Only about 1,100 were ever made. He was a big influence on me.

I went to college and continued studying jazz guitar, but I also took a pop songwriting class and started venturing beyond jazz. That exposure helped me appreciate different styles of music and the creative process behind them. I knew I wanted a career in music, whether as a player or working with artists in a creative capacity. Over time, I figured out my path.

Before jazz, what was your very first guitar experience? Did your parents introduce you to it?

Justin: My dad plays a little guitar and tried to get me into it, but I was more into video games at the time. My fingers weren’t strong enough.

In seventh grade, I had to pick a school club, so I chose guitar club. One of the first songs we learned was Squeeze Box by The Who. It had a simple chord progression, but something about it made me want to learn. I spent a day or two figuring it out, and that was the moment I realized that if you put time into something, you get results.

From there, I learned Rocky Raccoon by The Beatles, which was harder. Then I moved on to jazz chord progressions. It became a mindset—tackling musical puzzles one step at a time. Having a great teacher and access to quality instruments helped keep me motivated.

As a guitarist-producer, people often come to me for chord progressions, riffs, or unique soundscapes. Some artists start with lyrics, some with melody, some with instrumentation. There’s no right or wrong way—it’s about finding what sparks creativity for that individual.

Justin Friedman

That makes sense. When did that puzzle-solving approach transition into songwriting? Did you perform as a songwriter and touring artist?

Justin: I always loved arranging. I’d take jazz standards or popular songs and turn them into instrumental guitar pieces. Eventually, I got into producing. I lived in LA for a while, producing and working on arrangements rather than focusing on singing or traditional songwriting.

When was this?

Justin: Around 2015-2016. I landed a few song placements with Lil Peep. We had just started working together when he passed away. After that, I collaborated with his producers and some of his contemporaries. That was one of my first major experiences working in a completely different genre—mixing guitar riffs with trap beats. It was still relatively new at the time, and I think Peep’s music helped pave the way for integrating guitar into hip-hop in a fresh way.

Let’s talk about arranging. Many people don’t realize how complex putting together a pop song is. What drew you to the structure—intro, verse, chorus, middle eight—that maximizes emotional impact?

Justin: One of my biggest influences is Tommy Emmanuel, one of the greatest arrangers and fingerstyle guitarists. He understood that music is about keeping people engaged, telling a story, and maintaining dynamics.

Great arrangers, whether it’s Quincy Jones or Count Basie, follow similar principles. Whether it’s jazz or pop, the challenge is getting through a song efficiently without losing its essence. I still work with artists today who send me four-and-a-half-minute songs that could be more impactful in under three minutes. The best pop songs maintain integrity while keeping the listener engaged from start to finish.

When working with artists—especially younger ones—how do you help them decide what elements should take priority in their music?

Justin: It depends on the artist. As a guitarist-producer, people often come to me for chord progressions, riffs, or unique soundscapes. Some artists start with lyrics, some with melody, some with instrumentation. There’s no right or wrong way—it’s about finding what sparks creativity for that individual.

Are you still available for songwriting and arranging collaborations?

Justin: Absolutely. For me, it’s all about working on cool projects that resonate with me and creating a strong workflow with artists.

You’ve spent over a decade with D’Angelico. Can you talk about Bond Audio and the brands under it?

Justin: D’Angelico Guitars was founded by John D’Angelico in 1932 in Little Italy. He built guitars until he passed in 1964. His instruments are highly valued—some are considered the Stradivarius of guitars. The brand name changed hands several times before we acquired it in 1999. In 2010, we started building the brand’s modern identity.

I joined in 2016, expanding the product line. In 2020, we acquired Supro, an iconic amp and guitar brand used by legends like Jimmy Page. Within Supro, we also acquired Pigtronix, a pedal brand. Bond Audio was established in 2020 as the parent company for all three brands.

We advocate for artists who advocate for us. The music industry is about relationships, and being transparent and loyal to your partners will help you in the long run.

How do you identify emerging artists to work with?

Justin: Many people misunderstand how artist partnerships work. Some artists receive gifted products, while others get access to our artist discount program.

We consider multiple factors: touring activity, social presence, and authenticity. We also value proximity—being able to bring artists into our showroom to create content together strengthens relationships. Most importantly, we seek artists who genuinely love our instruments, not just those looking for sponsorships as a status symbol. Organic, long-term partnerships are our priority.

Do younger artists help shape product designs?

Justin: Absolutely. As Director of Artist Relations, I’m also on the product development team to ensure artist feedback is incorporated. We do licensing deals for signature instruments, where we collaborate closely with artists to create their dream guitar.

How much of your time is spent finding new talent versus artists reaching out to you?

Justin: Initially, I did a lot of outreach because our artist relations program was small. Over time, our roster grew, and now many referrals come from our existing artists. Maintaining relationships takes up most of my time, but we still actively scout new talent.

What advice would you give to artists transitioning from aspiring to developing?

Justin: Consistency is key. Stick to your plan and adapt when necessary. I’ve seen artists grow tremendously over a decade simply by staying committed.

Also, build strong partnerships. We advocate for artists who advocate for us. The music industry is about relationships, and being transparent and loyal to your partners will help you in the long run.

Many emerging artists don’t realize that music sponsorships should be part of their career-building process. Would you agree?

Definitely. Brands like ours support artists, just like management, PR, and labels. Partnerships with gear companies help artists tell their story and reach new audiences. Many musicians don’t realize how much opportunity exists within the gear and equipment industry. If you’re a musician, you likely use a guitar, plugins, a digital audio workstation, an audio interface, a microphone, and sound panels for your studio. These are all real companies with real people, and most of them have marketing or artist relations teams that you can work with.

In my experience, many of the people working at these companies are musicians themselves, which makes them more accessible compared to other industries. These partnerships are usually lower stakes and built around creativity first.

While I wouldn’t recommend relying solely on gear partnerships to grow your career, they can be a great foundation. Many artists don’t realize that they can reach out and connect with companies like Universal Audio or other gear brands. Those relationships can be valuable in ways that go beyond just sponsorships.

That’s a great perspective. Thanks so much for your time, Justin. This was incredibly insightful!

Justin: My pleasure. Always happy to talk music!

Check out D’Angelico Guitars

Instagram

TikTok

Youtube

Twitter

Facebook