I found Nigel’s work through a mix of internet research — forums, message boards, individual comments and reviews. I already owned a Sobell bouzouki, and when I saw that Nigel had spent time in Stefan’s workshop, that really caught my attention. The idea of getting a guitar bouzouki came from Andy Irvine and my friend Pat Broaders, a trad Irish musician based in Chicago. Once I watched the online demos, I knew the style and quality of Nigel’s instruments appealed to me.
What drew me in was the workmanship — the detail, the simplicity of the design, and the thoughtful personal touches. I was also looking for a different sound from the Sobell. As beautiful as that instrument is, its body shape naturally gives it less heft in the low and midrange. I wanted something with more depth.
“The sound was exactly what I was hoping for: the crispness of a traditional bouzouki, but with added weight and body. It’s genuinely one of the most beautiful and beautiful-sounding instruments I’ve ever owned.”
From the moment it arrived, it felt like a top-tier instrument. The combination of woods, the colours, the patterns — the rosette and fret markers are just lovely.
The sound was exactly what I was hoping for: the crispness of a traditional bouzouki, but with added weight and body. It’s perfect for solo playing, and ergonomically just feels right.
Since then, I’ve only grown more attached to it. I play it daily — it’s genuinely one of the most beautiful and beautiful-sounding instruments I’ve ever owned. And it holds its tuning remarkably well, even through Missouri’s unpredictable weather.
I couldn’t recommend Nigel’s work more highly. The quality, the sound, the aesthetics — all of it exceeded my expectations.
Chris already had a Sobell, but he wanted something with more depth and weight. His guitar-bouzouki didn’t just match that hope — it exceeded it. If you’re wondering whether a new instrument could really add something alongside what you already play, maybe now is the time to begin the conversation.