This concert-size model takes its inspiration from Gibson’s old blues-associated L-00. The curvaceous body profile isn’t identical but the influences are underlined by the retro-style straight bridge and a plush vintage sunburst which is applied to the whole instrument, not just the top. It’s buffed to a mirror lustre, and it looks great.
The trim is handsome without being flash. The all-solid spruce/mahogany body carries a wood-mosaic centre strip down the back and an abalone rosette, plus black coachlined binding with contrasting inner purflings – a theme echoed round the Peerless’s ‘Lady Lip’ headstock. Arguably, the peghead design is a better aesthetic match on the archtops, but it’s still attractive and contributes a cohesive family identity across the whole catalogue.
The sunbursting on the 648mm-scale neck obscures whether the neck is one-piece or not, but it’s an obliging-feeling affair. It has a diamond volute under the nut and the fairly flat-backed C profile is of medium depth and width, with enough meat in the grip to hint at a traditional feel while avoiding undue bulk. There are one or two minor scuffs along the edge of the fingerboard near the neck join, but otherwise everything is very neatly sorted, and the 55mm string spacing at the bridge allows for easy fingerstyle.
The PGC-65 delivers respectably well for its size, helped by relatively deep rims. The dynamics and long-scale action feel a shade taut, but projection and volume are good when played enthusiastically. The tone is quite bright and not especially bass-rich, but the inter-string balance is evenly poised, making for a precisely defined sound all round.