In an NPR Music Tiny Desk Concert, Yusuf Islam (formerly known as Cat Stevens) plays a Gibson J-200, showcasing its rich sound in his performance.

Grant Lee Phillips has regularly been seen playing a blonde finish J-200 since going solo from Grant Lee Buffalo.

Here he plays it throughout, on a KEXP solo performance from 2016.

In Episode 3 of "Guitars That Followed Me Home," Jim Peterik mentions that he sent off his Gibson J-200 to be refinished with a tiger top.

Reverened Gary Davis can be seen here with a Gibson SJ-200 and it seems to be his most played guitar

Mance Lipscomb is seen using a Gibson J-200 acoustic guitar in a photo uploaded to Wordpress.

I personally emailed Mr. Laird-Clowes about this guitar and he responded with "it is a Gibson J200 (from 1974). I bought it in 1983 at the very start of the band. It is hard to believe , it had only been made nine years before (as it is seen very much as a 'vintage' guitar now )!!" You can see him playing this guitar in many of the Dream Academy videos

Alex Davies used a Gibson J-200 during the Solaris Acoustic tour, as highlighted on the Tumblr blog "fuck yeah alex davies."

Featured in 2021 Premier Guitar rig rundown.

Benson’s Gibson J-200 features leather work by Kerry Wilcox and a Barbera Transducer pickup.

Visible in this photo of Dickens.

Jason has a custom J-200 with one major battle scar - in early 2016 the guitar took a hard fall in its case at an airport and broke off at its peg head. Thanks to Jason's personal luthier, the guitar was repaired without any lasting damaged. The guitar bears Jason's trademark signature logo on the side.

“Ok, Saraya days (live) I was using the classic ADA MP-1 setup with two Bedrock 4x12 slant cabs/30 Watt Greenbacks in both. Main axe was that Lake Placid Blue ESP strat with a Seymor Duncan in the bridge and a Kramer Sustainer, flip-flop purple/blue. FX were a straight up Lexicon MPX-1 through the FX loop.

When we did the first record, I tracked with that rig (at Bearsville Studios in NY). But we did all the overdubs at Studio-1 in Austin, Texas and Jeff Glicksman, who was producing, brought in this Mashall Plexi that just leveled me. Used it on everything except ‘St. Christophers Medal.’ That track was recorded near 2:00 a.m. and we were drunk, tired and who knows what else, so when the solo came up during basics, instead of staying with the rhythm part, I just went for it. The next day, even though I wasn’t nuts about the tone, I LOVED the solo, so it stayed.

When we did Blackbird (and thank you for the praise... I still love that record), I needed to raise the bar a bit in terms of layers and tone. So I bought a late ‘70s Les Paul Jr. and started getting used to the way it changed my playing. I ended up writing the entire record on that guitar. I did all the demos on my home studio (Korg M1 and Tascam 8-track) and Sandi wrote most of the lyrics in the studio. Funny thing is, we recorded that record just outside of New Orleans and the studio had great vintage gear. So I ended up using a Tele on a LOT of those songs, the Jr., and a Fender Twin, my ADA, and a Roland Jazz Chorus all running together and coming up on six faders.

Danger Danger was another situation like that. The studio had this old Laney Pro-Tube Lead that sounded dope so I used it on the entire record, with my Lexicon MPX-1 and the Blue ESP.”

An added comment from Rey mentioned that his acoustic guitar parts were done on a Gibson J-200 acoustic, which he still owns today.

From https://musicplayers.com/

On Mark's official Instagram, you can see him pictured with a Gibson J-200.