Midweek in Auckland and the maestro is in town. From years of crafting his art, a stint with Dragon in the 80’s, and a lengthy list of collaborations including his late brother Phil and his hero Chet Atkins, Australian guitarist Tommy Emmanuel now grooves at Zen Buddhist level.
One man and his guitar, Tommy Emmanuel has the mastery to evoke stories within every song he plays.
Considered one of the very best by fans and his peers alike, Emmanuel’s uniquely developed finger-picking style puts him as a leader in his chosen field.
Associated with performing solo with his customary Maton acoustic guitars, tonight’s show saw Emmanuel play two sets with an intermission, and without a support act. This was an ideal night and setting for the acoustics of the Great Hall to be put to the test.
Opening with Countrywide off Dare to Be Different (1990), Emmanuel settled into mid-tempo country, and would move across a repertoire that included Blues, Jazz/Swing, Bluegrass/Appalachian throughout the evening. He’d also mashup songs, and rework contemporary standards and pop classics.
Comedically introducing his band (there wasn’t one), Emmanuel mimicked a bass player and drummer on his guitar.
Think of the money I’m saving folks, as he pulled it back with Blue Moon.
Emmanuel turned in a swampy version of a collaboration he recorded with Jason Isbell, Deep River Blues (The Delmore Brothers).
Emmanuel plays extremely clean, with impeccable timing and great feel. No gimmicks, just organic genius guitar work. His use of space and harmonics are world-beating. With a vibrant smile, warm demeanour, and peaceful energy, Emmanuel’s playing is clearly an extension of his joyous soul.
Watching the monitor of the venue filling pre-show, Emmanuel mentioned his prep for performing. The key is remaining calm. He focusses on tuning and playing beforehand, expressing that it gives him the best shot at delivering a great performance.
Using the body of his guitar as a drum, Emmanuel conjured up polyrhythms, tapping and evoking snippets of the Australian outback and Aboriginal culture. My plus one thought she heard a baby goanna in there too.
A rare occurrence, and in the moment, Emmanuel broke a string (see Dreams of Ordinary Men with Dragon on Hey Hey its Saturday back in ’86 for the last time). Tommy quickly changed guitars, and with an Angus Young left-foot forward step, picked up a brush and got to drumming again on his gat and the mic, adding some Afro-Cuban rhythms with prowess. His percussive skills are strong.
The lighting lent to Emmanuel’s theatrical endings, with a bit of smoke to garnish the atmosphere. What differs Emmanuel from other guitarists of his ilk in the classical world? He threw the charts in the bin, plus he’s got the skinny Rock’n’roll legs.
Second set and with new strings, Emmanuel commenced with a ballad, followed by The Duke. With that song, he explained of giving himself a brief to getting the job scoring the soundtrack to a 1940’s western set in Ireland starring John Wayne. Vistas were set wide.
Now a grandfather since he last played in NZ, Emmanuel executed the spritely Scarlett’s World, written about his granddaughter, also being inspired by the Scarlett Johansson film Lucy. He hinted my thoughts about the world are in this song.
Recently Emmanuel was interviewed by Rick Beato on his renowned YouTube Channel. Asked about his creative process, Emmanuel talked about taking techniques, songs and exercises and expanding on them in improvisation. With his playing so much in the flow, and the open options and choices he faces, Emmanuel doesn’t seem to ever miss. Maybe that’s the level he sets for himself, out on his own.
Somewhere Over the Rainbow got the loving treatment, all the while Emmanuel keeping personality and zest in his playing.
Emmanuel sang acapella for Jerry Reed’s Today Is Mine, referring after to Reed’s words of wisdom. Life is not a rehearsal, so you better get on with it.
Emmanuel got his first guitar in 1960 and gave a background of his current beloved axe of choice, a Maton. Forged out of Box Hill, Melbourne, he joked that he’ll be exhibited there at the museum when he dies.
More reminiscing followed as Emmanuel talked endearingly about his hero Chet Atkins, and the request from him to record the next song at 3am in his pyjamas.
This was in the 90’s, back when I had hair and teeth. The beautiful waltz Smokey Mountain Lullaby was recorded at Atkins home studio, in one take, and gave Emmanuel his first Grammy nomination.
I felt we were guided by someone then, but we had our eyes closed the whole time trying to get it right. Emmanuel quoted his favourite Chet saying, turn up boys, it bothers me.
Explaining his roots, as a baby Emmanuel’s mum often put his pram next to the turntable. Accordingly his first words were turn it over.
His inspiration was his mum. A pianist, she needed a rhythm guy. Emmanuel was it, getting his first guitar at age 4, while older brother Phil became the lead guy.
The Shadows were everywhere. They both emulated Bruce Welch and Hank Marvin.
Emmanuel shed light on how he’s wired. Not initially aware of bass players, he incorporated that multi-layered execution into his playing. No loops or effects here.
Moving effortlessly through a Beatles medley, which included I Feel Fine, Please Please Me, While My Guitar Gently Weeps, Daytripper and Lady Madonna, Emmanuel segued into his signature version of the Mason Williams Classical Gas. I bet some guitarists were crying in the aisles, drummers too.
Emmanuel thanked his crew and Town Hall staff and reminisced on his connections with Kiwi artists. Peter Posa, the Hunter boys with Dragon, and Sharon O’Neil. Our Pacific Neighbours he called us, referencing a John Williamson poem.
The finale number had Emmanuel blending Simon and Garfunkel’s American Tune with Waltzing Matilda. With the intimacy at its peak, that was it. Emmanuel waved the house goodbye, to a standing ovation. A truly captivating performance.
Emmanuel’s buddy and local gunslinger John Kempt caught up with him at load out, Emmanuel chatting briefly about how he developed his sound and style by placing his guitar against the wall to gauge the echo of its body.
Ladies and gents, Tommy Emmanuel for your listening pleasure. Pitch perfect? This is fret perfect!
Tommy Emmanuel plays Wellington 5th April, Christchurch 6th and Dunedin 7th.
Mike Beck
Photography by Dennis O’Keefe
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