Gibson brings back its wild Les Paul acoustic hybrid for the first time in more than 20 years
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There's no doubt that the Gibson Les Paul is one of the most iconic electric guitars ever produced, but does it work as an acoustic guitar? That's a question Gibson is clearly keen to answer with the launch of the Les Paul Parlor.
It's likely to divide fans (similar to how Fender's Acoustasonic range split opinion) but it's certainly an interesting concept.
Gibson is approaching cautiously here. Unlike its previous Les Paul acoustic iterations – which came in 1969 and 2000 for three and four-year runs, respectively – the body shape is a lot smaller this time around. Featuring a parlor-sized body 'reminiscent of a scaled-down SJ-200', its compactness may just sway those on the fence about this hybrid aesthetic.
Taking tonewood cues from the source material, its back and sides are crafted with solid mahogany, and there's a AAA flame maple top for 'a bit of bite and note definition to the warm tone from the mahogany body'.
The bookmatched top also benefits from traditional scalloped X-bracing with single-ply cream binding found all over to ensure the Les Paul's legendary chic carries across.
Mahogany is also employed for the neck, which has a notable Advanced Response profile. Expect a neck that's not 'too beefy nor too slim', while its 12"-radius, 19-fret fingerboard is made from rosewood. Pearloid trapezoid inlays harmonize with the guitar's cream binding (and continues the LP vibe, naturally) and the neck attaches to the body with a compound dovetail neck-to-body joint.
Rosewood returns for the bridge, which is installed in a belly-down orientation. TUSQ is the material of choice for its nut and saddle, and its Grover Rotomatic tuners are nickel-plated.
Another hint of the parlor's electric lineage comes via the mother-of-pearl Gibson logo and gold Les Paul Model decal on the headstock.
And, seeing as it's part of the LP family, it would be remiss not to saddle this thing up with some pickups. An L.R. Baggs VTC +4 under-saddle piezo pickup and active preamp are the electronics of choice here.
As the system's name implies, this model has an output 4dB hotter than the standard VTC system. Still, we can't imagine this guitar is going to be hooked up to a Marshall stack.
There are two finish options available, Vintage Sunburst and Vintage Cherry Sunburst, and both are available as left-handed models too.
The Gibson Les Paul Parlor is priced at $3,999 and comes with a hardshell case.
Head to Gibson to oggle it some more.
Gibson has been evolving its acoustic range in 2025, with top picks including a new Acoustic Specials series that brings its most beloved (and expensive) designs to lower price points, a downsized, single-cut take on the SJ-200 via the Parlor Rosewood EC, and a signature, twist-laden take on the J-45 for Margo Price.
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That's the thing. Always. He's a gentleman and a scholar. A very bright person. Do you remember where you were the first time you heard The Beatles' I Wanna Hold Your Hand? I sure do. My mother-in-law [at the time] goes: 'They're called The Beatles. They are the biggest new things in radio.' You once told me that when you heard The Beatles for the first time they flipped you out and you viewed them as competition. They didn't scare me, but made me jealous. Because they got a lot of attention we didn't get I was so jealous I could have cried. You still enjoy Paul McCartney's work. Actually, I'm working on a song, Beatleman. I've written it with Scott Bennett of my band, and he has a high level of creativity. Is it about Paul? You and Paul, two composer/bass players born two days apart from each other? In a certain way I'm addressing it to Paul. He cried when he saw SMiLE. You debuted SMiLE at London's Royal Festival Hall, and this summer you premiere a new piece at the same venue. Have you ever really thought about why Britain has become your spiritual second home and why it embraced your work more widely than America did? Because they appreciate good music more than Americans. The music goes to their heart. The people are more in tune with and more grateful to hear music than America. Tell us about the new That Lucky Old Sun (A Narrative), which you'll debut in London. It's five narrative stories, and That Lucky Old Sun re-occurs five times. Toward the end there's a one-minute piece, a shorter piece. Quick things. You seem to be really happy performing Good Vibrations on stage these days. Why does it still thrill audiences so much when you play it live? Because the damn thing is so together and cohesive. It comes together so beautifully that people can't resist loving it. The first time I heard Good Vibrations on the radio I cried my eyes out. How does it feel to be doing selections from SMiLE now in concert, and even celebrating the accomplishment of SMiLE reaching an audience? You know what, I don't like SMiLE any more. I got so tired of it and did it so many times that I've forgotten the damn thing! I said: 'I don't want to remember it. It's done.' I like the band I played it with. Tell us about your new habit of drinking mineral water with each meal… What happened was I drank soft drinks for five years and it fouled up my sleeping schedule, screwed up my thought process, fucked up my nerves – the sugar and caffeine. Two months ago I got off of it and feel 20 times better. What a lesson to learn. The Beach Boys: An American Band was just released on DVD, with live performances and interview footage with you. Do you like talking about yourself on camera? Yes, I love to. I'm not as shy as I used to be. And I was afraid of people. And I still am. Do you remember the first day you walked into Capitol Records in 1962? Yes. 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