Andrew Yonke is the CEO and owner of Chicago Music Exchange, one of the most respected vintage and modern guitar shops in the world. Based in Chicago, CME has built an international reputation for its curated selection of high-end instruments, artist collaborations, and engaging digital content.
Under Andrew’s leadership, Chicago Music Exchange has evolved from a renowned brick-and-mortar shop into a global online destination for musicians and collectors alike. The company is widely known for its in-depth video demos, rare and vintage guitar offerings, and partnerships with major artists and brands.
Andrew has played a key role in expanding CME’s reach through innovative marketing, e-commerce growth, and high-profile collaborations, including projects involving artists such as Zac Brown, John Oates, Joe Bonamassa, and Richard Fortus. His approach blends a deep appreciation for guitar history with a forward-thinking vision for the modern music retail landscape.
Who were the blues players that first made an impact on you, and are there any artists you keep coming back to when you want to reconnect with that original spark?
Freddie King! He was it for me in the beginning. I had obviously found Bluesbreakers and Clapton, so I wanted to know where the songs came from – and BAM! I was obsessed with Freddie’s playing. Oh, and him playing Gibson ES 345/335s. My favorite vintage guitars to this day: vintage 335s.
From your experience handling some of the world’s most iconic instruments, do you believe there’s an “ideal” electric guitar for blues—or is it really all about the player? If you had to choose one setup, what would it be?
It’s the player, 100%. Of course, there are magic guitars and amps that make that sound and would bring something to the table. Considering I am surrounded by gear 24/7, one of my favorite things to get into at the shop is when you have all the ingredients necessary to try and replicate a famous recording/sound… THAT guitar and THAT amp and or pedal. And we nail it. Thankfully cameras are normally present and we get to document it!
What do you think would most surprise people on the outside looking in about running Chicago Music Exchange?
I mean, it’s not all fun and games. You don’t get to just sit around and play guitar all day that’s for sure! I’ve got something like 90 employees and we ship worldwide 24/7! So, there’s always an issue somewhere. But it’s the greatest gig in the world, hands down. Nothing else I’d rather be doing.
What’s been the most challenging aspect of leading a company like CME, especially as it’s grown into such a major force in the guitar world?
Keeping up digitally. I often phrase it in white collar vs. blue collar work. That’s one half of the most challenging aspects of our industry. The core product will never change; these shapes were released in the ‘50s and early ’60s, essentially, and no one has been able to top them. So, in that sense it’s very analog or blue collar – lots of hands-on work. But your customer is online and worldwide, and your marketing is direct in the form of content creation and your website/social channels.
And with LLMs (Large Language Models) entering the chat you have an always changing environment with literal daily advancements that you need to keep up with or face getting left behind. But at the core of CME, the store, you need to take it very seriously and keep that experience intact. So that the customers who make the journey from all over the world to experience the store get that experience. Immersed in gear! All the best gear, no matter what you’re looking for!
Your recent collaboration involving Zac Brown’s guitar collection was a huge moment. What goes into building trust with artists at that level, and what does the project mean to you personally?
Just be yourself. Artists are very creative and have a skill that makes them special, but they still have to go to the bathroom. And they still have anxiety, and they still have all the same things to deal with that the rest of us do. And I treat them the same as I would meeting a new customer that just walked in from Michigan to check out the store. Being honest and building trust comes with being a good person and doing what you say you are going to do.
It was easier years ago when I first got the store, but going to a lot of shows and meeting them in their environment is important and different from just being able to hang out in the store. Once you’ve seen an artist live and talked to them about their writing or recording process then you can better understand their ear, their tastes in gear – which is how I’m able to help them find what they’re looking for from me.
What does a typical day look like for you now? How much of your time is still spent around guitars versus the business side of things?
I mean, it is everything at all times these days. Again, with how fast AI is facilitating advancements and opening up the ability of many digital tools, old and new, you have to be on your toes. And as much as we try to schedule marketing, socials, videos – at any minute at CME another artist could walk in the door or call or another amazing vintage guitar/amp collection could show up!
And lately we have had a ton of travel. I’ve already had to travel international for artists and collections this year on top of crisscrossing the U.S. We have customers and friends all over the world, which is amazing and I never take it for granted, so my day is always spent making sure that we are putting forward the best possible experience for them.
What do you ultimately hope Chicago Music Exchange represents to musicians ten to twenty years from now?
I hope Chicago Music Exchange is always seen as being on the side of the musician. Whether someone is picking up their very first guitar or has spent a lifetime chasing tone, we want to be a place that fuels that journey—where people feel inspired, understood, and connected to something bigger than themselves.
At the same time, I want CME to represent real trust and expertise—the place people turn to when something truly matters. Whether they’re searching for a specific sound, trying to understand what they have, or ready to pass along a meaningful collection, they know they’re in the right hands.
And the instruments are important, but what really matters is what people do with them. If twenty years from now someone can look back and feel like we played even a small role in helping them find their sound or their voice—while also honoring the history of these vintage instruments and pushing the culture forward—then we’ve done exactly what we set out to do.
