About to turn 70 years of age, Tommy Emmanuel is still an enigma.
I’m meticulous about live music, often studying setlists weeks or months in advance and crafting the experience in my mind well prior to the actual event. I brush up on back catalogues, discover long forgotten b-sides and immerse myself in the history of the artist. For me, the more I know and the more I’m prepared, the more I can make sure that I don’t miss that critical live moment.
Not the case when I’m preparing to see Tommy Emmanuel, and if you’ve seen him live before – you understand exactly why.
There’s no support act tonight – just two sets of the maestro himself. Starting the show 7mins late (however still at a gloriously-appropriate-for-a-school-night 7:07pm), Emmanuel waltzes to the stage and with barely a breath launches full-steam into Black and White to Colour – an absolute belter of a tune that’s due to be released on his forthcoming record. Even as he prepares to turn 70 on May 31st, he is just as precise, ferocious and fast as he has always been on the guitar. It’s genuinely mind-boggling how good he is. Following the opening tune with a couple more new tracks for the as-yet-unnamed new release, Emmanuel stops for a breather, and engages in conversation with the audience. He’s smart, funny, relaxed and still as goofy as ever.
One of the first thoughts I have is what pressure he must feel to be consistently regarded as the greatest living guitar player by everyone from casuals to esteemed colleagues alike. The burden of expectation any times he performs must be overwhelming. As if sensing my thought process – Emmanuel often reminds us that for him, it’s all about the love of music. It’s all about having fun, and he cherishes every second. He spends time telling stories about how he used to play along with his parent’s record collection – where he and his equally brilliant brother Phil would share duties from many artists (he spends a lot of time discussing heroes such as Chet Atkins, Arthur Smith, Buddy Williams, The Shadows and Jerry Reed). That appreciation, joy and love for music shines through with every note – through every blistering solo and chord change, you can see Emmanuel smiling and lapping it all up. Part of the experience is watching him on stage, tearing it up and genuinely just having a great time – and it’s infectious.
That’s why there’s no preparation required for me to see him. It’s not about the song choice, or the setup. It’s not about capturing the perfect live moment. You go to see Tommy Emmanuel play to feel that energy from him (and to have your mind blown by his technical prowess).
The first set tonight is predominantly newer tracks, with the exception of an absolutely harrowing rendition of House of the Rising Sun which includes Emmanuel’s under-used and underrated bluesy, soulful vocals. It’s the highlight of the night for me. The second set includes the classic covers and some of his well-known numbers – notably Angelina (a personal fave). I never get sick of hearing Classical Gas or his Beatles-medley, which includes his infamous version of Day Tripper/Lady Madonna. However, it’a undoubtedly Guitar Boogie that gets the Concert Hall absolutely rockin’. It’s simply superb, and sounds as good now as it did all those years ago when you first heard it. I catch myself on multiple occasions throughout the night just smiling in awe (no doubt I am not alone).
If there’s any downer to the night, it’s that it couldn’t go on forever. When Tommy Emmanuel is next in your area, I’d encourage you to go along and bear witness to the greatest guitar player of our time, if not ever. Whilst I was restrained tonight and respected the Opera House‘s wish for no video/photo in the concert hall, below is one of the tracks heard tonight to enjoy.
4.6/5.0
Tommy Emmanuel, Concert Hall, Wednesday May 21st 2025
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