A few months before Molyneaux Guitars became a real thing, I found myself wandering down Denmark Street during a birthday trip. It lined up nicely with an Ariel Posen gig, but the real draw, as always, was the guitars.
I’d never seen Denmark Street in its so-called “prime,” and while it’s not quite what it once was, there’s still something special about a street lined with guitar shops. I did the usual routine: a slow walk past every window, followed by a proper look inside each shop.
One stop that stuck was Hank's Guitar Shop. Downstairs was everything you’d expect. Vintage Telecaster Customs, Les Pauls, and some incredible pedals. All a bit out of my price range, so I didn’t linger too long. Upstairs, though, was where things got interesting.
Among the newer guitars and some slightly questionable catalogue pieces, one in particular caught my eye.
It was ridiculous.
Four pickups. A mess of switches that looked like they belonged on a toy. A sparkly plastic body. It didn’t look good. It didn’t feel particularly nice to play either.
But I loved it.
There was just something about it. I sat with it for a while, trying to figure out why it worked. Because on paper, it really shouldn’t have.
I left the shop and carried on down the street, but that guitar stayed with me. Weeks later, I was still thinking about it. After a bit of digging, I found out it was a Bartolini 20V from the early ’60s.
And that’s when the idea started forming.
What if you took something visually unique, full of character, but made it properly usable? Something built for modern players, without losing that slightly odd charm.
At that point, I hadn’t even decided to start building guitars.
From Idea to the First Magpie
A few months later, I had.
The original idea for what would become the Magpie was fairly safe. A kind of Strat/Tele hybrid. The name came from being a lifelong Notts County fan (The Magpies), but also from the idea of pulling together the best elements from different guitars into one. Like a magpie building its nest.
I even started building it.
But that strange guitar from London kept creeping back into my mind.
Eventually, I scrapped the original build and started again. This time leaning into something more distinctive. Inspired by that old Bartolini and modern offset designs, I wanted something that captured the same spirit, but worked the way a guitar should.
No gimmicks. No unnecessary complexity. Just a well-considered instrument that felt right to play.
Building the First One
The brief was simple: build a guitar that could do a lot, without trying to do everything.
Working with James at Home of Tone, we landed on a pickup combination that offered real versatility. McNelly Stagger Swaggers for the thicker, P90/Jazzmaster-style tones, paired with a McNelly Duckling to bring in those classic Strat-style sounds.
A 6-way Freeway switch tied it all together. Giving a wide range of usable tones, without overcomplicating the layout.
Finished with a Descendant Vibrato and Companion Bridge, it became a guitar that felt both unique and practical. Something built to be played, not just looked at.
Where It Led
That first Magpie became the foundation for everything that followed.
It also led to moments I never expected. Seeing it played live with Sabrina Carpenter by Caleb Nelson, and later out on the road with Eric Montgomery alongside Maren Morris.
Not bad for a first build.
Start Your Own Build
Every Molyneaux Guitar starts the same way this one did. With an idea that sticks.
Whether you have a clear vision or just a rough starting point, the process is about shaping that into something that works for you. A guitar that feels right, sounds right, and earns its place in your hands.
If you’re thinking about a custom build, get in touch and we can start the conversation.