Tony Mantor's : Almost Live..... Nashville - Eric Dahl's Journey from Accidental Guitar Collector to National TV Host

Episode Date: July 9, 2025

Eric Dahl, host of the nationally syndicated Rock and Review with Eric Dahl TV show, shares his fascinating journey from accidentally purchasing BB King's stolen guitar to becoming a respected music interviewer reaching millions of viewers nationwide. • Started in television at age 19 in the mid-80s • Accidentally bought BB King's stolen Lucille guitar in Las Vegas and returned it to him • Transitioned from Vegas to Nashville in 2011 to better raise his daughter • Has expanded his show from reaching 800,000 viewers to 17 million viewers nationally • Prepares extensively for interviews without scripted questions to keep conversations authentic • Interviewed over 1,080 artists across 13 years of his television show • Approaches interviews from a musician's perspective, discussing technical aspects other interviewers might miss • Recently launched a Spotify playlist featuring music from artists who appear on his show • Dreams of interviewing Billy Gibbons from ZZ Top and Lady Gaga   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

My career in the entertainment industry has enabled me to work with a diverse range of talent. Through my years of experience, I've recognized two essential aspects. Industry professionals, whether famous stars, or behind-the-scenes staff, have fascinating stories to tell. Secondly, audiences are eager to listen to these stories, which offer a glimpse into their lives and the evolution of their life stories. This podcast aims to share these narratives, providing information on how they evolved into their chosen career. We will delve into their journey to stardom, discuss their struggles and successes, and hear from people who help them achieve their goals. Get ready for intriguing behind-the-scenes stories and insights into the fascinating world of entertainment. Hi, I'm Tony Mantor. Welcome to Almost Live Nashville.

Joining us today is Eric Dahl, host of the nationally syndicated Rock and Revement. with Eric Dahl TV show based in Nashville, Tennessee. He's a multifaceted talent. Beyond interviewing artists, bands, authors, and documentaries on his show, he's a freelance magazine writer and a published author of two editions of BB Kings Lucille and The Loves Before Her. He's a passionate music enthusiast and guitarist. He brings a wealth of captivating stories to share.

It's an honor to have him here. Thanks for joining us today. I'm thrilled, man. It was so fun when you brought it up. I'm like going, we've got to make this work. Oh, absolutely. I'm glad that we did. So for the people that don't know you,

let's give them a little background on what you do. Wow. You know, much like yourself, kind of a musician since I was a young child, kind of a guitar nut. I work in television, started when I was 19 years old back in the mid-80s. I do the Rock and Review with Eric Dahl television show based out of here in Nashville, which is a lot of fun, as you and I were talking before the show with all the music artists. And I kind of became semi-known, I guess, Tony, from back in 2009 when I accidentally bought

BB King Stolen Lucille when I was living in Las Vegas and returned that to Mr. King. And Mr. King then let me write the books that I did about his Lucille's and about our stories. So I guess that's kind of me in a nutshell, you know, just kind of between music and media and, you know, all things in between, Tony. what did it feel like to give Lucille back to him? That must have been incredible. You know, it was so funny because it was one of those moments in time. And I know you've had the same ones, Tony,

because, you know, you've worked with such big names and had so many, you know, big names on your podcasts and everything to where it seems surreal because, like, whenever it came down, and I accidentally bought his Lucille from a pawn shop in Las Vegas. And I didn't know that it was stolen from him, obviously, at the time. And so then when Gibson called me, and then his managers called me and told me that they thought I had his stolen Lucille. It was interesting because, you know, since I wouldn't take money, then Mr. King wanted to meet me.

And so that was my inroad since I'm not going to take money for a stolen guitar. And they're like, well, what do you want, Eric? It's like, well, I'd like a replacement Lucille if possible because this most money I ever spent on a guitar before. So I played his prototype one 80th birthday Lucille every night the week before I gave it back because I knew I'd probably never see it again or get to touch it. Tony. Once again, you know, getting to go into Mr. King's office there in Las Vegas and and see him almost in tears as you're giving it back to him because he never thought he was going to see that guitar again. And that's the only Lucille he played from 2009 until 2014 when he stopped playing. And then his family, the estate of Beebe King, auctioned it off. And it sold for,

I believe, $198,000 in 2019. And I owned it for two and a half months. So, I mean, but the happiness on B.B. King's face and sitting there next to him when you're giving it back, it was just priceless. Yeah, I can only imagine. So how did the transition from Vegas to Nashville happen? You know, it's funny because, you know, when you look back, it's like, oh, that path totally makes sense. But, you know, I was raised back in southeast Missouri, Tony, down below St. Louis and a little town. And so when I graduated high school, I came to Belmont to become a rock star in the early 80s, as so many people are prone to do or become a country star, songwriter, whatever. And there were so many starving musicians getting degrees from Belmont at the time.

I thought, I should maybe rethink this career in music. And so I ended up moving back to Southeast Missouri and going to college and getting a degree in mass communications, TV and radio, music minor, and jazz and classical and guitar. And then my career with TV took me out to Las Vegas for a decade after Missouri. and then they moved me here to Nashville, Tennessee in 2011, because I wanted to be in a better place to raise my daughter. She was like four or five at the time. And we still have family that lives up in southeast Missouri, so it's like four hours away.

And so that's kind of how I ended up back in Nashville. And I'm not leaving this time because, like, as you and I know, it's everywhere you go here with music people is kind of like cheers because everybody kind of knows you. It's like I was at Joe Glazers earlier today taking over a couple of guitars. You know, you've got all these A-list musicians coming in and out, and you're just trying to get your guitars adjusted or fixed, and I had to leave one to get the electronics worked on.

And you're hanging out and talking with Joe Glazer. Yeah. You know, and it's like going, it's just like, I go, hey, Eric. And I love that with the music stores and with everything here in Nashville. It's such a great community of people. And everybody helps everybody. Yeah, it's a pretty great atmosphere here for sure. And once you're a part of that community, it's like going,

it's just very comfortable. So for me, moving back here to Nashville, really felt natural. Yeah, it does. Do you still play much? I don't play as much music here as I did in the past. Like in Missouri and Vegas, I played a lot in Vegas. I played all the casinos. Here, everybody's trying to make it, Tony.

I was always trying to support my guitar addiction. Yeah. You know, so I could buy one more guitar, one more pedal, one more amp. And so, you know, here I play the occasional song right around, which I did get to play at the Bluebird. A friend of mine invited me to do that with him, which was very humbling when you're sitting. next to top musicians and you're playing your little original songs.

Well, that was pretty cool. So when you first move here, did you have that pie in the sky? I want to be a star thing going on? Oh, totally, Tony, totally. Because, I mean, I think the problem is, and you and I've seen it, you can grasp it now, you know, looking back. In the little town in Missouri, I was considered a pretty darn good guitarist. You know, as a teenager, it's like people wanted to hire me and I was in bands.

and I was known in this tiny pond, and then you come to Nashville, Tennessee. It's a giant pond of musicians and songwriters, and you're a tiny little fish. And it's like going, you know, it's like, maybe this wasn't the best idea. Yeah, I know what you mean. I think what happened to me also happened to you. Before I moved to Nashville, my whole plan was to record, release a record, and then get that big hit. Totally. I did have some hit record.

I just unfortunately never got the one that put me over the top. The irony of everything is that because Millsap and Paxton talked me into moving down here, doing what they do because they were retiring, and that's production. Right. So the essence is that because I was doing what I was doing, I became more known worldwide than probably if I had continued as a singer. Yeah, it's funny. You know, when I go back home now, it's to Southeast Missouri,

people are going, oh, Eric, you're such a star. It's like going, no, I'm really not a star. I interview stars. You know, once again, I think when they see us interviewing people like, you know, like Dolly Parton or Slash, you know, John Bon Jovi, you know, whomever. I mean, Charlie Pride, Kenny Rogers, you know, they're like going, oh, well, you guys are hanging out. It's like, well, I interview them. It's not like we're going down and catching a coffee at the well, but, you know.

Yeah. And you become friends with some of them, as you know, Tony. Yeah, I totally get that. Now, of all the people that you've interviewed, which one stands out? You know, it's like, and once again, you and I do a lot of interviews, and I love it. I always look forward to the next one, but probably one of the ones to me that really has stood out and everybody goes back to watch and share is the Dolly Parton interview. I got called the day before, and they said, hey, we just had somebody drop out in this media day.

would you take a 10-minute pull to interview Dolly Parton? I'm like, yes. Before they even finish the sentence, Tony, yes. Absolutely. Yeah, you have to wear a chicken suit and dance around with feathers. Yes, sign me up. I'm interviewing Dolly, I'll put on the chicken suit. Yep.

You know, whatever it was going to take. But it's like it was one of those moments in time, too, to where she was so in the moment, you know, and I mean, I know, like with all these artists, you've had these same situations, Tony, to where it's like, and you and I are of the same mind to where you don't want to give the same interview everybody else does. And so I knew at the time, you know, she was talking about a brand new album. Certainly did all the prep with that. But I'm not kidding you, Tony. I created a file that was probably inch, inch and a half thick. And so as soon as they told me, I was going to have the interview the next day, I started doing my homework. Yeah. And doing that homework means that you've

interviewed her a thousand times. In my head, in my head, because, you know, you and I are the same, too, to work. I've had major artists coming on the show. And it's like, well, we'd like to see your list of questions, Mr. Dahl. It's like, there is no list of questions. I get that all the time, too. I've got, you know, folders. I've got huge amount of information, but also I think to give the best interview, you have to listen to the interviewee. Yes. You know, and so whenever Dolly was speaking, I was listening to her answers and then basing questions from that.

And then we were actually able to talk more about, you know, what an incredible businesswoman she is, which has been continually proven to this day with the new Dolly Parton Hotel and why. and cookbook and, you know, the list goes on and on. Yeah, that's exactly what I do. I do not script my interviews in any way. Nope. I believe it's too sterile if you do it that way. That's just my opinion.

I think it's too confining, and I think, you know, and once again, you and I do it the same way. And I learned it from back when I used to produce live sports. And I saw my sports announcers, because I was in the truck producing, and they would come in and do the same thing. And they would have this crazy files on all of the athletes and all this. So whenever I came up with the idea to do the rock interview with Eric Dahl, that's the way I started doing it because it's like I wanted to be over prepared. But, you know, like I told you, Tony, when we first met, originally I pitched the idea for the TV show to news and it wasn't for me to host it.

It was for news people to do it. And then it was like going, that's a great idea. And they're like, why don't you do it? It's like, well, that wasn't the idea. And then you start doing it, you know, doing the interviews and everything. I'm like going, why didn't I start doing this like 20 years ago? We're in our 13th year. So last week we hit interview 182.

Wow, that's awesome. Now, you started out in Nashville, Rock and Review. Yeah. Now you're nationwide. It's kind of weird. You know, it's so funny, Tony, because once again, your shows have certainly, you know, this show and your other show have excelled as well. And so I know you know what the feeling is like, but it's also, I don't know, I still haven't fully absorbed it. You know, it's like I'm so many months into this.

the Rock and Review show was always kind of like a stepchild to where, oh, that cute little entertainment show that Eric does. It's like going, he pulls in, you know, musicians and producers. In fact, you know, a lot of artists that you've worked with over the years have been on the show. They let me do my thing because it was like news was in the morning, news was in the afternoon and night. And then I would do mine time in between and when it wouldn't bother anybody. It's like, come on, we're going to the studio. Put my logo up. Turn on the lights.

We're going to do it now. You know, it's kind of like an underground show. And then finally, you know, last fall, I reached out. to the regional program director with Sinclair and said, hey, we're not going into our 13th year. And it's like, I'd really like to get this show into more markets. And so, like, you know, you and I were discussing, it's like, okay, create this one sheet, do this, sizzle reel, do this, and stand on your left foot and send it to me. It's like, okay.

And I did it. And then it was like going to kind of like a Hail Mary football pass. And the head guy at the company goes, yeah, we're going to air this on every CW and my TV station that we own. And so we went from hitting in Nashville, 800,000 to a million viewers in December to January 17 million. Yeah, that's nice. And it's like, you know, you know, because we, you know, Nashville, good size market, but when you're going in 23 markets and 48 TV stations and you're all the way to Portland and Austin and Cincinnati and, you know, I think the great thing to me is that it helps the artist and the bands.

Yeah. And that it, you know, because if they're doing the interview with us, at least then it's a bigger footprint. Absolutely. And I think that's the goal because if we're doing it already, I would at least like it to get out there more, you know. Absolutely. You want to take the amount of time that you put into it and then when you produce it. Right. Plus all the editing that goes into it to make it the best it can be.

As we both know. You want as many people as possible watching it to help build what you're doing. Right. Because I think that's the fun of it is to where I hope that people that watch the interviews, my goal always is when I have an artist or band on the show or an author or a music documentarian where it's one of the best interviews they've ever had and that they want to come back on the show and they tell their friends. And so to me, it's very flattering when you have somebody like a Pete Anderson come on

and Pete's having the time of his life. And it shows, and he's sending you like, thank you, emails and text and everything going. It's like, oh, that was just a great. The interview is like, well, you know, that's the goal, Tony. Exactly. I think you and I will agree on this. We both had people that influenced our music as we was growing up. Then all of a sudden, we're in a situation where they're calling us, wanting to be on our show.

Then all of a sudden, they're in our studio. And it's like, wow. Right. With everything that they've done in their careers and what we're doing, it's almost a surreal moment. It really is. And I made this joke before, too, Tony, to where I kind of feel like I'm the, sometimes the forest gump of television show interviewers. There's a picture of me and George Clinton. And I'm like going, yeah, that's me, George Clinton and Parliament. And, you know, or the picture of me and Dolly and just, you know, all these huge names that I get to hang out with

an interview and have a conversation and hopefully bring interesting things out. Just like, you know, with Peter Frampton, getting to bring out stuff about how he found the banjo-lalee. in his grandma's attic, and that's how he started playing music. I always call it like the nugget, you know, the interesting little story that everybody doesn't know, but is there. Yeah, absolutely. That's what I try and do on every show. Sometimes I can't get it, but I try and find that one thing that they may have never been asked before.

Yeah. And I think that's where the gold is. Yeah. Because to me, it's always so much fun, Tony, to where the artist or the band or, you know, the author and everything are kind of, astonished that you know that. Absolutely. Like the first time I had Bobby Rush on the show. And I knew all of Bobby's work. I mean, my family was very steep in the blues and his music and everything. And I started bringing up stuff to Bobby. And Bobby's like, how do you know this? It's like going, Bobby. It's like you were on the road with Bo Diddley and with Bibi King and with all these guys and Buddy Guy. And it's like

going, yeah, I know about your career. Yeah. And the beauty of it is sometimes you can ask them that one question that catches them off guard that they weren't expecting, and then the reaction from it, it's worth a million bucks. It's just gold. I mean, whenever you hit that, you know, to where when you catch them off guard that much, and unfortunately, too, and you know this as well, Tony, sometimes it happens like before or after the interview, you know, like after the audio shut down or the cameras are shut down. And I've had like personal moments, like with Dolly. You know, like when I got done interviewing Dolly, and Dolly leads over to me and pats me on the arm and goes, Eric, I forgot how much you prepare for these and how much fun it is with you.

And it's like going, why is the camera not rolling now? I think the first time I interviewed the boxmasters with Billy Bob Thornton, we're off to the side, and they're doing another interview thing and Billy Bob's sitting next to me and telling me stories about interviewing Julia Roberts. Nice. You know, and complimenting me on the interview, you know, and it's like going, it's like kind of strange moments, Tony. It's like going, I didn't think that a kid from a small rural town in southeast Missouri being raised on a gravel road, you know, would be sitting next to, you know, top artists, you know, top musicians and artists from the world, you know, all styles of music.

Yeah. And hanging out, having a conversation with them. Yeah. One thing that I do on my podcast is once it's done, we have our conversation afterwards. That's sometimes when they'll let their guard down. I'll ask them a question and it's there for the taking. And that's the gold. Yeah. You know, because then they're comfortable with you. And I think also for you and I both, Tony, to where with our shows, I like artists to know that I'm never going to hang them out to dry. Right.

You know, and I tell publicists and managers this as well to where it's like, I don't know what kind of shows you guys have done. But I can tell you, I am not going to ask anything that will put the artist or band in a poor light. If they want to bring up something, whether it be about their personal life or their faith or whatever, I'm open to it. They can bring it up. My job is not here to bring them down. I think the world brings us down enough. It's hard enough to do what you and I do and what music artists and everybody does, especially in the creative realm, where you don't need to have an interview where somebody's going to kick you and keep you down. Yeah, that's no fun for anyone. The whole object of what we do is to try and tell a story in such a way that people find out something this interesting. They might

not have known about. Right. That's the icing on the cake. And then we get that one question. Hopefully, that puts the cherry on the top. It's so true because it's like, it's like just, you know, to where, you know, once they're relaxed with you, as you know, people will open up and that's where the pearl is. When they open up and they really share what motivates them or, you know, what drives them to create the music, to write the songs they do, you know, getting over their own fears and everything to do it. Man, you can't beat that because I think we can all relate. And I think so many of these artists, too, the music artist,

a lot of them came from humble beginnings. And a lot of them had failures, Tony. And people don't realize that because, you know, as everybody always jokes in Nashville, 10-year town. It's like people don't see, even somebody like Blake Shelton, how many failures he had during a span of time to get where Blake is now. That's right. And that's 10 years if you're lucky.

10 years if you're lucky. because it's like going, you know, it's like, sometimes it takes 13 like me, Tony. And it's like going, and now I'm trying to get the show to, you know, expand again. So, you know, I had that talk a week ago with the corporate people to see it's like, okay, we've had a good run with this first season in syndication. So in July, seeing if we can, you know, bump it up again and get into more markets with the TV show. And it's really, for me, it's to help out the artist and the bands and the music people. And that's why also, like yourself, always trying to come up with new and creative

ways. Absolutely. That's the only way to keep building. A month or two ago, I did a Spotify channel to where now I do a playlist. So any artist that comes on the show, I go and pull my two favorite songs and I put it in my hot picks for 2025 with The Rock and Review with Eric Dahl. And it's a wonderful picture too. It's from New York where it's like the head, the mold of the Statue of Liberty. And I've got my finger up the nose, and that's the hot pick. So it's like, you know, you got a visual and you got music, Tony. Yeah, that's great. That actually was one of my next questions. What's next? You're pitching it to syndication of larger markets now. Right, right. I think now, you know, just like yourself, and I mean, you know, your show has done so well for the right reasons, and you've got a heart for it. Same for me.

It's like now that we've gotten into 23 markets, 48 stations, we reach 14% of the United States right now, and that's just with the half-hour show, not counting the two-minute interviews. So now I would like to expand out to more because Sinclair has, I believe, 186 TV stations. So it would be nice to jump into more of the Fox markets, maybe some of the ABC, NBC, CBS stations that we have and expand out again. And then I'm going to have to think about if I'm going to get back into the podcast business again, which, you know, I haven't been in for years, just trying to find the time, you know, Tony, or doing the actual job that I do. here for Fox 17, My TV 30, and CW Nashville, but then the Rock and Review is my pet project.

Right, right. Then on the side, nights and weekends, when I'm not trying to sleep, I write for two magazines. That's right. You know, I write for Worship Musician Magazine and Guitar.com out of the UK. And I'm trying to work on my third book. Okay. It's been a slow roll. Since you're known in the UK, this may reach some of them.

I don't know if you know or not, but this podcast gets simulcast to stations over there as well. That's incredible. You know, what I love about the UK, and I've got a lot of friends over there, is that they really treat music like a listening room, Tony, you know, which, you know, and you being a producer, you get it as well. You know, with artists and everything, they know the artist, they know the music. They know the lyrics. And I think, you know, in UK and Europe, they care. Yes. They care about the music. And it's interesting, too, with the BB King Lucille thing, I've had people reach out to me from the UK going, hey, which Lucille do I have? And then I have to kind of go through. It's like, okay, well, here's the model that you own. Because it's like, you know, it's a tiny niche. I'm like the Lucille whisper. Yeah. The beauty of it all is you get to people's ears that will listen to what you say that you never thought would happen. Right. I mean, I've had people reach out to me that want to be on my show and I go, man, I can't believe they listen to this. I know. It's like, I had a happen one time and I know you can relate to this, Tony, to where I was at a guitar show here in Nashville.

and somebody had seen the Eric Johnson interview that I did at City Winery. And they go, hey, you know that time you were interviewing Eric Johnson and you asked him this question. And I kind of had that William Shatner moment with like the Tribbles to where I'm like going, geez, what episode was that? You know, you're trying to hear that interview. Okay. I was a City Winery and I was on stage with Eric Johnson and we're talking. And you're trying to remember that, you know, because I mean, once again, it's like, you know, just like you.

It's like, I'm up to a thousand eighty two interviews now and doing it for 13 years. It's like you interview a lot of people. Yeah, I get that. And it's tough to remember every instance. And certainly I remember something from everyone. Like if you ask me with any artist, any person, I can tell you something from every interview. Can I tell you the whole interview? No.

Yeah, I'm like you. I remember bits and pieces, but I just can't remember it all. And then somebody might say, this is what you said. And I'm going, I don't think I would have said that. I know. It's like, you almost have to go back and watch your own material going, did I really say that? It's like, I shouldn't have said that. Yeah, did I really ask that question? Right, right, exactly. It's like, what prompted that question?

You know, the great thing about this is we can laugh about it, we can joke about it, we can have fun with it. But the good thing is that we're having conversations, and people will remember those conversations because of the people that we have on the show. Right. Totally. I think, you know, and certainly a lot of people reach out to me still on the BB King Lucille deal because that was such a part of my history and went international. But I think as the TV show has gotten a bigger bandwidth and certainly had a lot of major artists on and everything, too, to where I think people can relate to it. Because hopefully, you know, just like you do with your show, Tony, you're trying to ask questions that are not the

average question. It's not the typical interview. It's something deeper, more unique. And I like to talk about their charities. You know, when I had Gary Seneson and talking about his son's last album, it's like going, I'm interested because, and Tony, you know, you and I are music fans. We don't have to pretend. We actually, we actually mean it and we care and we want to know more. Yes, not only that, the beauty of it is because we are musicians, we can talk to other musicians like musicians talk to musicians, whereas other interviewers and nothing against them, they might not understand music like we do.

So they're going off all the information that comes off the bio. Exactly. Yeah, because you and I certainly, you as a producer and myself as a musician, have an ear for it. So when we're going through and listen to the new songs, you know, I'll say, well, you know, on track number three, I really like that B3. And they're going, oh, you notice the Hammond B3?

I'm like, kind of obvious. Yeah. You know, it's like, you know, or you bring up the slide guitar. or whatever else. And that's the thing for me, too. It's like, I think it's fun with the rock interview to where artists can come on and talk about the musical instruments they use. Like, I had Johnny Langan one time. We got done, Tony, and we're leaving the studio. And Johnny says to me, Eric, I got to tell you, that's the first time I ever did a TV interview and got to talk about my guitars. And I said, well, Johnny, you're in Nashville.

Yeah, exactly. Because to me, it's like going, obviously watching the musicians. I had Reverend Payton on a few weeks ago. And we were talking about Samantha Fish last week and Dan Huff and different ones to where it's like, yeah, I know what guitars you play, maybe tell me what amps and pedals or what you, you know, it's like, I find that interesting because, you know, you and I can go pretty far down that, you know, it's like going, what microphone were you used on? But I think it's fun too, because I think it gives depth. Absolutely. I get that 100%. So I ask a lot of people this question. I ask them what they have for a bucket list. With you, I want a complete different bucket list. Who is in your bucket list that you would most like

to interview. Living or dead? Didn't anyone tell you that you're not supposed to answer a question with a question? Ha ha ha. But since you did, give me one of each. Okay. You know, deceased, I would have to say, I would love to have Stevie Ray Vaughn on. Being raised by my mom and dad were such big music people and big into the blues.

And then when Steve Array came back on with the blues and really reinvigorated that, I think it would be very enjoyable, you know, to have an in-depth conversation with Stevie Ray about his influences. Today, it's like there's so many great artists I would like to have on. I've been trying to get Billy Gibbons on. That's kind of like a holy grail thing for me. And then, you know, I would like to get somebody like Lady Gaga. You know, once again, because it's like to pick her brain about her songwriting. You know, it's like when I've had Desmond Child on and it's like going just the way their brains work differently, Tony.

And I think that, you know, different spectrums is like going, I'm always looking forward to the next interview of who's coming on. And I don't look back a lot. I'm not a rearview mirror kind of guy. You know, it's like if you said, well, who did you air last week? Eric, I'm like, I'm going to look because I can't remember because I'm already working on tomorrow's interview and just constantly going ahead. But I would love to have Billy Gibbons from Zizi Top on the show. He's a big one.

And like I said, you know, Lady Gaga in a totally different lane. Yeah, I bet she would be great because her as an artist is so different than anyone else. Exactly. I like to use the analogy that a person can be a nice, person and then when they go on that football field or whatever sport it is they become a monster well sometimes that's the same thing with singers they're nice until they hit that stage and then bam right they become the person that they are on stage rather than the person that walked onto the stage and that perception just amplifies right you know and the prime example of that for me

and i've interviewed him once i'm planned to have him back on the show joe bonamasa to where when you to Joe around Nashville and stuff, and he's buying guitars, amps and pedals, as he is prone to do. Got a baseball cap. He's hanging out just like me and you. But then when he puts on his suit and sunglasses and slicks back his hair, oh, it's, it's blues rock star time. He sure is. And another perfect example of that is Vince Gill. Right. I had taken Lenny Welch backstage at the Grand Ole Opry. Vince was there that night. I don't know if you heard or not, but unfortunately, Lenny died last month. Oh, I didn't know that. Yeah, it was very unexpected.

So after the show, it was Lenny, a background singer, and Vince Gill and myself. Lenny was talking about the old days, how we got started back in the 50s and the 60s. And the stories were going on. I looked at Vince. I said, where else can we have this conversation? Other than the backstage at the Opry. Yeah, I know. And people expect Vince Gill to be that same person that he is on stage.

Yeah. And in this case, you're seeing a guy that's Vince Gill. Right. It's so funny because, you know, having bumped into Vince Gill. at different guitar shops and stuff. And he always goes, hey, you know, he's like that humble guy. You know, in February, I took my girlfriend out to Vegas, and we saw him with the Eagles at the sphere.

And I'm thinking, that's the same guy. I bumped into a Rumble seat guitar as well, I was trying out a 64 Gibson. And, you know, and it's just, it's Vince. Yeah, that's Nashville. That's the beauty of it. It really is. And I think that's what's so unique. It's like, you know, as you know, too.

And you've worked with so many of the greats, Tony. but Tommy Emanuel and like all these people that you just bump into around here and you have them on the show if you're like going and then you know Tommy's playing Carnegie Hall. Yeah. Yeah. You know, and he just got a Grammy last year. And I'm like going, okay. And I've been in Tommy's living room, talking guitars.

And it's like going. Yeah, I totally get that. We are in the best place for anyone that loves music. I mean, there's not a better place we could be. And I think also for you and I, we're in. in the best place we could be in for the right reasons. You know, I think following the path for your show and for my show both to where we're legit. We do the homework when people come on our shows, they know what they're going to get

and they enjoy the whole deal to where, you know, it's fun. Whenever people come in the studio, as you know, when I've had you on, and people are going, so is the teleprompter going to go up yet? There's no teleprompter. There's no net. That's why I always say. There's no net, but I won't let you fall. Yeah, that's great.

Well, you know, we could talk about this for hours. So I just got to say, this has been great. Well, I'll tell you what, Tony. I appreciate it. And congratulations on both of your shows doing so well. And I know this one's going to be expanding. I hope in the near future with the caliber of artists you've had on. I'm humbled to be invited on your show, Tony. And, you know, it's fun. It's fun to have friends like you to where we help out each other. And we all win. But you do a great job with your show. And thank you for having me on it. Oh, it's been my pleasure. Thanks again. Thanks for joining us today. We hope you enjoyed the show.

This has been a Tony Mantor production. For more information, contact media at plateaumusic.com.