The Tommy Emmanuel Interview | World’s Greatest Acoustic Guitarist

so i have tommy manuel here who's one of my absolute favorite guitarist in the world i want to keep moving my chair forward so i can see everything that tommy plays yeah no actually he wants to keep moving his chair forward because he wants to be bigger in the picture he wants me to look small that's what he's really doing me tommy how do you get so great on the guitar there's so many different things that you do well oh so many different types of guitar playing you're a great electric guitar player you're incredibly well well versed in so many different genres and your arrangements utilize so many different types of guitar things whether it's like i've seen you do your you know the cascading harmonics and things like that well well i i mean i got it directly from chet atkins yes as all of us did really he was the first person to make that sound yeah on a record and it was it was a long time ago it was in probably the late 40s or early 50s yeah lenny bro came along and took it to another level i just found ways of doing it myself that um i tried to come up with arrangements of songs that the public would know michelle summer over the rainbow i also have an arrangement of secret love which which incorporates some other harmonics too [Music] hmm [Music] [Music] right so it has a bit of has a bit of everything you can this guitar is not super loud um and mr and mrs gibson loaned me this today um and it's got very light strings on i use heavier strings just wanted you to know that but there are so many different stylistic things there's a lot of really sophisticated jazz harmony that you do in there well they they're the surprise moments you know yeah i know i saw your interview with sting and yeah and dominic and um you know sting is so right about that we need to be surprised because actually surprise equals entertainment you know and i learned that from penn teller and so surprise me is a beautiful thing so you know i i purposely i went looking for stuff that that is purposely not predictable that's where it gets in those more sophisticated harmony you're really combining so many different styles of harmony in that right right there well you know i i have a lot of people to thank for that you know chad of course yeah jerry reed yeah ray charles yeah um george benson um and uh lenny bro of of course and and every jazz player that i've ever come across and piano player i remember one time i was walking to an airport i can't even remember where it was and i i heard this piano playing and it was and he was playing moon river and he went you know he wasn't seeing anybody and then he went and i went holy smoke what was that you know because guitar players don't think that's right this piano [Music] and i said i've got to steal that straight away so i sat down and got my guitar and worked it out and then i thought okay how can i vary it because i can't use it every time right so the second time [Music] yeah then [Music] so forth and and i'm i'm trying to do piano things on the guitar to be different because i don't want to be sounding like every other kind of chordal melody kind of guy you know when you're working on an arrangements arrangement is there some style of of harmony that you like to use if you're playing a beatles tune for example right then i go for the the vocal harmonies i was wondering about that because i noticed that yeah a lot of vocal harmonies do this so some parts go up while the melody's going down and vice versa right and sometimes you get a harmony like uh like chet did this beautiful thing in in summer over the rainbow and then yes [Music] yeah you know it's very pianistic too yeah it's very hollywood as well and there were so many incredible arrangements yeah came out of you know the 30s 40s 50s in in hollywood movies and the music is is truly amazing so you know i stole that idea immediately [Music] so forth um and i'm always looking for something that sounds vocal that's that's that that is it kind of sound like it's written in stone the important thing to me is interpreting the melody properly what i learned uh through my life thus far is that if you want to learn a song and come up with an arrangement you've got to learn the melody as the as chet would say as the composer intended yes so learn the melody properly first um don't go learning all the other fancy schmancy stuff that that so many creative people do learn the melody properly first learn the right chords then if you want to change it and make it your own thing you can do that but you've got to learn the melody properly first people often say to me how did you come up with this arrangement of classical gas right so i learned the original uh from my friend mason hello as a solo piece it just took too long to get going the public when you're playing in bars and stuff like i was all those years ago yeah people have the attention span of a three-year-old you've got a slap you're being generous i think too you gotta you gotta keep it rocking and you go things have to keep moving and grooving and and all that stuff you know so what i did is out of necessity i changed everything about it and i purposely didn't play the the original version because it just didn't work as a solo piece right i just took the iconic parts which is right and then then they're the three iconic parts yeah right so um i just built the rest of it around it and i just threw it out there you know um and and people loved it they responded straight away i always judge how something's going by audience response because that's my job i'm playing my job is to play for people i i judge what my work is like and how i'm performing it how how it comes out by your response you know so you're you're my um you're my yardstick you're you're my quality control that i'm talking to you out there you know if you take a song like somewhere over the rainbow that has such a sophisticated chord progression that versus if you're doing a a beatles song for example that may have a simpler chord progression you're always bringing different things in there different techniques to make the uh the bottom line is i'm still interpreting the melody hopefully yes when i when i play lady madonna yeah my my biggest decision is how do i want to make it feel yeah you know so i want the singing part to be like paul mccartney lady [Music] she [Music] [Music] so how do you just play like that without even i mean you didn't even warm up or anything i warmed up at six o'clock this morning um now or i'm thinking like a singer when i when i play see let's do a quick thing here here's what happens when you're learning a new song that's complicated like lady madonna yep you don't play anything else only that for at least until you can play it well yeah you know like how long will it take you to actually play to do the bass in the melody well i've been playing lady madonna i'm trying to remember when i worked it out it was in the late 70s yeah i've heard you i've heard you play it for years i've played it many different ways and i play differently now to what i did two years ago and i just played it a little differently then you know um so which tells you that i i'm free now i i'm not wrestling with the skill of playing this song right right what i'm doing is i'm putting my my mojo on the melody yeah right so all the rest of it is take is all taken care of because i've played it enough but when you're working out something like this yeah it's not music yet it's skill okay so you've got to work out carefully and people don't want to do this but there is no other way no you've got to start out ba by ba a little bit by little bit and and practice it and practice it and practice it until it comes together and then something happens with our brain and what it is is our attention suddenly goes to the melody and everything else starts to feel good but our attention goes to the melody well i shouldn't say we because i have to speak for myself because it may be different for you yeah you know so our little gray cells how they work but so when i play lady madonna now all i'm thinking about is how do i want to make it feel right and and and i enjoy it i love the song it's so beautifully written as everything is with paul mccartney you work out the skill of playing it and with enough playing and enough dedication that skill turns to music and girls and boys that's a great reason to get out of bed that is a great reason okay so i want to know though what is hard for you to play is there something that you're uh a lot of the stuff that i write yeah i if i don't practice it i i play it on stage and i come off going what the hell was that you know what why aren't my hands doing what they do i have nights where i come off stage mad at myself because i haven't come up to where i need to be i i'm trying to push myself you know and i realize like if i listen to something i recorded 20 years ago i struggled with it today but back then i was all over it i was just hosing the hell out of it and and it all came and flowed and it sounded perfect the tuning was great the timing was good okay that's good and then you know today if i don't play that song 10 times today i will struggle with it so that's the thing it's like really keeping up on it warming up practicing and just playing the songs yeah you know what was i playing this morning i was playing um i was running over a song that i wrote with chet atkins a long time ago because i wanted to put it into my show and tell the story because it's an interesting story but i was running it's called chet's ramble i was just running it down because uh there's a couple of little parts in it that needed some skill work and stuff like that okay when you say skill work what does that mean that that means like attention to detail attention to detail making sure that that every move is like there's a part in the song where there's a keychain songs in a there's a key change into c and [Music] uh [Music] just to get to that clean so that melody just does that right and sounds like it has a life of its own [Music] now we're back to the regional cave [Music] [Applause] [Music] [Applause] and the ending and the going home chord there it is that chord signals to me that we're going home you know this one then the ending sound of the mandolin [Music] all right so in order for me to get that clean i had to work on those just just getting to that so somebody like chet in his prime when you go back and listen to the recordings and and when you were growing up listening to him playing i was watching him yesterday yeah yeah beautiful hands unbelievable beautiful yeah i've never seen somebody practice that much you know when i go and watch old videos of him and thinking of him coming up with these things when there was no nobody had done that before and he's thinking of this stuff his arrangement skills were honed out of like the rest of us out of necessity you know so he's working um in a radio show he's working with the carter family yeah he gets a little spot so he's got to have some pretty fancy stuff to play for two minutes and 30 seconds or whatever you know and then he's doing this radio show and he gets to the radio at four in the morning and listens to the latest uh of what's popular works out an arrangement of it plays it that day in the show and then moves on to the next one you know so his arrangement skills just like okay i've got two minutes and 30 seconds how can i make every second of this really good that's you know and then how can i do it before lunch at that time even guys like wes montgomery would always play contemporary songs you know we'd do arrangements of contemporary songs right when they came out exactly right oh yeah that was like a big thing was to stay on top of whatever contemporary music was doing and yeah if you were an instrumentalist well i guess if you wanted airplay or you wanted to sell records right you know there are purists in every form you know there are bluegrass guys who probably turn their nose up at what i do you know you know we don't plug in in bluegrass you know doing my bluegrass but i love all kinds of music and i try to remain an open vessel that's the important thing to me i need to be open so whatever's in the universe that's that i'm hoping is going to flow through me and flow out to you and make you feel great that's what i'm trying to do i'm not i'm not trying to say anything about myself i'm trying to say i'm open and willing give me something to work on you know tommy if you're going to sit down and listen to something let's say you're getting in your car driving around and i listen all the time let's say you want to you're thinking to yourself because i do this sometimes i'm like man what's something i haven't heard in a long time that i want to listen to and i just racked my brain for something back you know from 30 40 years ago whatever oh okay like what's something that you haven't listened to or that you that would be something like well let's see uh if i if it's something i haven't listened to for a while i usually go back to american pie uh don mckenna yeah wow those songs you know yeah um christopher cross's album was beautiful yeah i'll never be the same without you oh yeah all that all that stuff you know rydel at the wind there's there's that style of thing yeah and then some days i i just want to hear stevie ray vaughan you know but when i'm in my car um i have a car that has xm uh um sirius xm and i always go to the beatles channel which i love and i always go to 60s and 70s you know sometimes 80s if i want to hear michael jackson that you know uh don't stop till you get enough or that or earth winning fire but you know i have never been a guy who only plays who only studies guitar players i could care less you know the world is full of great players and there are players out there who can play rings around me but that's actually not true i'm not i'm not i'm not in competition with them i'm trying to just do my own thing but like for instance this morning i was practicing and everything and then while i was eating my breakfast what did i watch i watched steve gad play because i i want to be influenced by someone as good as him you know i want to take his influence and put it here you know and then sometimes when i'm cooking i'll put on sinatra live at the sands how did all these people get in my room you know just to hear a guy seeing that well and the arrangements and and hear freddie green go oh yeah the best oh beautiful you know and quincy jones arrangements um count basie orchestra i i try to listen to every kind of thing that there is out there if something doesn't touch me or i feel it's soulless then i don't listen to i turn it off immediately because i don't want to waste my hearing you know what i mean life is too short if i can't enjoy it and get a soulful experience from this whatever it is watching listening or both then i just turn it off and just have silence when you're out there touring are you always just reading the room you're a master of that i'm joking i mean i'm not a master of anything no no no no you can really don't listen to him you can really read a room though right well it's about the people it's about what's going on yeah what what you get back you know and somebody was asking me the other day about you know they were at a show i played at berkeley concert hall in in in boston yeah and i went out there with all the enthusiasm of a 18 year old and i just felt that the audience were asleep at the wheel there was something about them and i don't know what it was but there was something and it the harder i tried the the worse it got the more it sucked your energy out right so by the end of the show i thought i really gave it everything and it's just because the night before people were throwing babies in the air going nuts you know and and i felt that i was playing okay that night but that's the business you know that's show business you just never know and when i get asked in an interview you haven't asked me yet but but when i get asked in an interview what do you do if you if you're having a bad night you know if you're tired or you're you're you know you just it's just not coming together for it what do you do and the the answer is you better have some good songs to play right right yeah so even on my worst night i can stand on my material i can stand there and play my songs and i can stand on them and and know that even on my worst night i'm it's still going to be okay because i believe in this music so i want to ask you too about how does the room that you're in but forget about the audience but the actual room and the sound of the room affect your playing or just your sound in general are there nights when your guitar sounds phenomenal in a room and you can play anything yeah yeah small rooms are really great for that you know but there's something great about being in a big room and hearing your guitar out there you know oh man it's it's awesome and uh i have an amazing sound guy and uh so even on our worst night my sound is still going to be pretty damn good yeah and i know that and i keep my setup real simple i don't have lots of i have one pedal on stage it's a tuner that mutes that's it i don't have anything else right the sound has to come from here here here and here yeah and and here yeah um but tommy you you do adjust for things like on this guitar for example yeah because of the setup you hadn't played disc guitar really no this is a stranger to me and so tell me about just this guitar as soon as you start playing an instrument you say you start doing these adjustments right yeah well um when i picked up this guitar it was tuned low and it's got light strings on it that i would never use so what i did is i tuned it up which is it's probably i can't quite tell but it's probably close or a little above concert pits right so it's probably 445 or something like that just to make the strings a little stiffer right and to get a bit of volume out of it yeah you know yeah so you know you hear it yeah it's dying up there but this guitar is is a good gibson uh it just needs some some good strings but but you still adjust you can totally adjust and yeah this is why you're a pro you have to i mean seriously this is just i just know that about you i've never met you before but i just think tommy is a pro he can pick up any guitar and play and sound amazing well i don't know i can try i can try okay if you're gonna play one song of your own compositions tommy what's like what's something that you would that you'd love to play for you right now yeah while you watch me play yeah yes he's going to get he's going to get bigger in the screen um well what i was playing uh when i was warming up there before mombasa is a song i wrote in africa and and and because it's a straight pick uh song i can get i can get some more clarity out of this instrument like this [Music] so [Music] now let's go to the bridge [Music] so this whatever i do with my hands this keeps going this is my metronome my left foot so if i want to change the feel of phrasing i can just do that as long as this just keeps going you know your feel is amazing i mean just the music's all about feeling it's all about feel you know that's why we are in love with when b.b king plays something he doesn't play much but the moment he plays it's all feeling and he just kills us yeah i'm glad to talk about feeling because you know people get too obsessed about technique and abilities and blah blah blah and really most of us who do okay in this business we're not focused on that we're focused on how good is this song and how much of my heart can i pour into it but time feel is the oh it's so that's everything time is not a magazine that's how i used to tell people when i would when i was a producer i bit well you know it's really funny when i was young working with people and i was really enthusiastic i'm sure i was always speeding up and always always trying to make people get excited and all that and i had to learn to work with a metronome i had to learn stop slow down listen and and get in the groove i work with the metronome a lot you know and and it's good for me and the funny thing is it shows you areas where you pull back and areas where you lean forward but if you can do and keep that pulse going you can do that you can move it around but it's still there and for the um uh for the cause of emotion uh i can pull it back or i can move it forward i like to say that you can play anything if you have great feel you could play all wrong notes if it feels good it feels that there's something magical about it right yeah well i always tell people you've got to work on your time i say there would not be one butt on a seat in my show if i didn't play with a groove because it's groove that makes the body move you know it's all about grooving time when i think of you i think oh tommy's always working on songs and arrangements do you ever just practice uh technical things or no just technical things too of course yeah yeah what's up like what's something that that uh that you would practice or that you've been practicing something that you would work on well one of the things i like to do is improvise and change keys like i i'll take like like a blue shovel [Applause] [Music] so [Music] [Music] [Music] [Music] [Music] so [Music] oh [Music] so i'm going up in semitones and um what i'm doing is i'm practicing going from one idea to the next without stopping mistakes and all just to just to get my blood flowing in my eyes and so you know and maybe i'll do it in that case then maybe i'll do like uh uh same kind of thing but but in uh in in a different tempo you know like uh [Music] oh [Music] [Music] [Music] [Music] [Laughter] something like that that is amazing well i'm just i'm just improvising stuff and i'm just there you know and that's i'm already breaking out in a bit of a you know see that's what that does to you you know it's like you're on the spot go okay let's talk about that let's talk about the importance of improvising how important it is to be able to oh because it's fun yeah you know it's fun to improvise and every now and again you you you you put your fork in the ground and you hit a piece of gold yeah you know every now and again i'll strike something you know but i mean guys like jack pearson they they walk around with gold in their pockets you know if you want to hear a great improvise so jack pearson is one of the greatest i've ever heard yeah you know larry carlton is a great great improv amazing yeah yeah robin ford's a great improv fantastic there's so many guys out there the thing i love about jazz is like when i play with martin taylor martin is so authentic in his playing and his style and his sound that he transports me immediately you know what i mean yeah um i immediately take on the role of of just being the time keeper and making it swing and all that because i want to hear him say what he says right and he and i sometimes i it touches me so much that that i get a sore face from smiling all night isn't that beautiful great you know and playing with jack pearson is the same thing it's just it's breathtaking and i love being around guys like that and a guy like frank vignola they'll he'll he'll push me until he'll get the best out of me as joni mitchell would say i'm unfettered and alive you know i i'm not here to try and impress other musicians with my bebop knowledge man there are guys out there that are just unbelievable um but you know to try and get them to can we just play the melody that's not easy you know what i mean and i know chet had that issue trying to produce lenny just can you just play the melody one time round you know what i mean yeah so uh you know a guy like frank vaniola and i we worked out [Music] and so i i immediately didn't have to do anything and then i got him to play the melodies just like i said just play the melody like like paul mccartney sings it don't move from that and i'll do this so i went [Music] there's the backing boat right yep [Music] dude [Music] wow i did that underneath and it worked and it was unexpected there's that surprised me again right i came up with that as long as he played the melody that's right you know yeah to find somebody like that is a is a wonderful thing you know someone who loves the melody this with the same passion i do i did an album a few years ago with my friend john knowles who's a wonderful arranger and a big lenny fan as well and all um and that gave me the opportunity to be the lead singer i didn't you know do anything a lot of embellishments none of that stuff i just played that played the melee like like cold cold harvey [Music] hmm [Music] it doesn't need anything else amazing and so he's playing beautiful changes underneath and keeping it simple and like [Music] [Music] so [Music] so that's how i approach the melody like the singer and little things like i find ways of being able to always make it feel like it's it's got a sweetness to it and i know when i want to do like a harmony part like for instance in um [Music] now i need a cord there you go [Music] nothing [Music] do and little [Music] a little piano ray charles type little thing you know [Music] tommy your playing is so dynamic too talk about the importance of playing with dynamics i mean every note is just every phrase is different where did i learn it from yeah where did you sing after singing and then from you know the great players who do it well you know but what i'm trying to do is express things in a singing way because i love singers you know and uh and and i love trying to do things that that make the guitar more like a voice it's the same thing with like you know buddy rich or steve gather or any of those guys they're not they're not playing the drums they're they're playing music you know i'm not playing the guitar i'm playing music on on this this is the instrument but it's it's the music that that's important i feel a sense of freedom from uh learning songs and performing them and weeding out that all the stuff that i don't need you know what i mean all the things that that maybe when i was 14 i thought i can really impress these people with all this stuff i know and they might have been impressed and that might have been good but when i grew up a little i realized i don't need to do that i need to play the song with all my heart and that's all that matters don't fall for trying to you know win an oscar here just play the song you know talk about the difference between playing electric guitar or electrified acoustic how do you uh incorporate how do you think about about the rhythmic things that you do if you're tapping on the guitar or playing with a with bro with a brush or anything like that all right well that's that's um the maintenance that i use yeah yeah and that's my my main main guitar yep we're here today at at gibson so i'm holding a gibson and i love gibson guitars but um my mate and guitars have uh a piezo six individual poses under here yep and a microphone and the nothing comes close electrically to a main guitar that's that's by far the best and so i can crank it uh and and i cover the hole and turn the mic flat out right so then i can do stuff where like i scratch the face up a little and get it rough and make the sound of her right then and then i play bass with my left hand and and and make the sound of a bass player in a drama together so that's one thing then the other things i do are i'll play drummers [Music] right i'm gonna do all that sort of stuff and all the people from gibson are running over [Laughter] yeah so so it's a different but it's a totally different kind of concept right well basically it's me being a drummer yeah right because i'm a drummer who plays the guitar right so so i'm i'm i'm doing stuff like so you got one one two three four then got god [Music] [Music] yeah someone i kind of i do all that in the name of entertainment you know it's still musical but it's it's really it it started out as a just a surprise thing you know and back in the 70s when i was playing takamini they were the only guitar that had a decent pickup in those days i remember that yeah you know the they were the first to really have a a pretty damn good uh pickup system for an acoustic guitar and i had a deal with bows in those days so the combination of the takamini with a bose pa with base subs as well as high-end that was a pretty good set and that gave me the idea when you would hit that would hit that with yeah i just spiked the mid-range yeah and then all that all the sounds would come out and then when of course when i when i got the maintenance with the pickups and mic system that opened up a whole another world to me you know and so i could start to do stuff that sounded like a drummer and a percussionist together yeah because the guitar has lots of different sounds you've got you got that there yep so that's you can think of that like a cowbell and then then you've got boom boom for the bass drum yeah you know so [Music] [Applause] [Music] you got all that then you got you got that that kind of thing you got got all those sounds and then with the with the pickup being right here sometimes i just i just i use a real thick jagged triangular pick that would just cut a hole right through your guitar you know what i mean and i go like that and and it it it sounds like a dinosaur or something like that right and i'm just looking for sounds you know and i i sacrificed my instruments i've sacrificed several guitars in the name of entertainment you got to do it right well you know and they've been amazing i still have a lot of them you know i mean if i owned a guitar like this i i wouldn't scour it up you know i'd use it for for for playing and all that sort of stuff but if i wanted to uh you know start doing all that percussive stuff then i would switch to a guitar that had that pickup system it was already marked up you know so people think all my guitars are marked they're not i have some that are just beautiful like something you don't even play right you just look at i have yeah yeah yeah um i have a gibson kalamazoo from 1934 which is so light you i take it out of the box and it almost floats it's it's so dry and the water is a choice beautiful tone what a voice oh yeah yeah yeah i remember i used it on [Music] like that they just milked that vibrato and this thing just oh it just speaks you know but you can't travel a lot with an instrument like that it's too fragile yeah you know the mains are awesome they really are and uh but when i was a kid in australia the people that we were idolized you know chet atkins uh glenn campbell yep um eric clapton and the beatles and the everybody had gibson's martins and um and fenders yeah you know a couple rickenbackers in there and and gretch of course chet was great and rickenbackers yeah my first good guitar was australian-made maiden which is in their factory yep and uh where i'll probably i'll be stuffed and mounted in the factory there you know you hear about the lady who took the two minks to the taxidermist no and uh he said how do you want them mounted and she said no just shaking hands will be fine [Laughter] um yeah so you know watching hank williams uh playing playing his martin and um uh everybody uh at the opry see seeing that you know you i was just in love with with american guitars you know and a a lot of people uh played one of the first really good players i saw in in in the flesh was a guy named dave bridge and and that's the first time i saw a 335 wow he had a red one and he played it through a fender um a band master tilted back a white one or like a creamy colored one with the brown you know i just remembered that so well and his guitar was shiny and the lights flashed off it and it was just gorgeous you know whenever i talk with joe bonamassa about it he's such a nerd you know and he's such a he's so passionate about these guitars i i love that about joe you know and you can sit and talk guitars all day with him you know as i could with you so i want to get you uh to have our special guest mike dawes to come up and play with you as we want to play a couple tunes it'd be great we will okay so we have a second special guest here mr mike dawes who you've seen recently on my channel he and tommy are going to play play for us can't wait let's do it [Music] oh yeah [Music] so [Music] so [Music] so [Music] so [Music] [Music] [Music] foreign [Music] so [Music] [Music] [Music] that's all for now don't forget to subscribe ring the bell and leave a comment check out my new quick lessons pro guitar course that just came out also the biato book if you want to learn about music theory that's how you do it and check out my beato ear training course at beautiertraining.com and don't forget if you want to support the channel even more think about becoming a member of the be auto club thanks so much for watching [Music] you

Channel: Rick Beato

Views: 612,781

Rating: 4.980391 out of 5

Keywords: rick beato, everything music, rick, beato, music, music theory, music production, education, tommy emmanuel, acoustic guitar, mike dawes, andy mckee, mike dawes guitar, guitar lesson, acoustic guitar instrumental, acoustic guitar solo, fingerstyle guitar, tommy emmanuel somewhere over the rainbow, tommy emmanuel classical gas, tommy emmanuel reaction, mike dawes live, best guitar player, Tommy Emmanuel Interview, Tommy Emmanuel Live

Id: PLIZZ9lIlwg

Length: 54min 20sec (3260 seconds)

Published: Wed Dec 01 2021

Reddit Comments

[u/HrishiRaj6]

Absolutely loved the whole interview with Tommy... That final jam was a complete surprise to me... I hope John sees this.. Man i really want Tommy to make arrangements of Johns songs

[u/trippin113]

Wow. I need an album of covers in that style.

[u/mystonedalt]

This is amazing, and makes me want to be on hold for a long time, or ride an elevator in downtown Nashville.

[u/FabkKking]

Oh damn that was soo good..

[u/mn_sunny]

The perfect cover doesn't exi...

EDIT: Good god, Tommy and Mike are such wizards. Can't stop watching/listening to it.

[u/stiguissimo]

Mike has covered Slow Dancing a bunch of times and it's on Spotify too https://open.spotify.com/track/18h9deWsf76VJv04k506lY?si=d0e33a5512694a12

[u/TehErk]

I've seen TE in concert. It's almost life changing. He's absolutely unreal.

[u/Forest_Wave]

My word. I couldn't tell you the number of times my eyes bugged out of my head while I was watching that.

[u/DominioDreamer]

Wow this brings back memories. An old university housemate (very, very talented guitarist) once showed me Dawes' cover of 'Slow Dancing' and I was blown away. What a talent.