Tommy Emmanuel - Accomplice Two (2LP)

Tommy Emmanuel’s duet records have always felt like a jam session that kept the doors open, and Accomplice Two doubles down on that spirit. Arriving in April 2023 as the sequel to his 2018 set, it leans into the idea that good music is a conversation. You can hear it in the way he leaves space for a partner’s tone to bloom, then slips in a harmony line or a cheeky counter run. It is still unmistakably Tommy, but he treats every guest like a co-pilot rather than a passenger.

The headline grabber for many was the blistering take on Doc’s Guitar and Black Mountain Rag with Billy Strings. It is a nod to Doc Watson, sure, but it is also two players egging each other on, trading lines that flicker like bushfire. There is a snap to the attack, little squeaks of string and wood that make you feel like you are sitting on the studio floor. Tommy’s bass-line engine never sputters, and Billy darts in and out with that elastic timing that has lit up bluegrass festivals around the world. It is celebratory, not showy, the kind of cut that makes you grin at the sheer cheek of it.

Molly Tuttle turns up for a fleet, nimble run at White Freight Liner Blues, the Townes Van Zandt staple that flatpickers love to test their mettle on. She and Tommy don’t just race through it, they dance, pushing the tempo then easing back, like they are swapping stories over a quick drink at soundcheck. It is a highlight because it captures what both players do best. Tommy’s inner metronome keeps the groove steady while Molly lines the melody with little twists and sparks. If you have been hunting for Tommy Emmanuel vinyl that shows his chemistry with younger pickers, this one belongs in the crate.

The country heart of the record surfaces when Jamey Johnson steps in for Daddy Frank The Guitar Man, tipping a hat to Merle Haggard. Johnson’s baritone is made for this kind of song, sturdy and lived in, and Tommy threads tasteful fills between the verses, the sort of playing you only learn after decades on stage. It is sincere without getting syrupy, and there is a warmth to the performance that suits the lyric.

The rest of Accomplice Two keeps that variety rolling, moving from bluegrass to country to easygoing folk. Emmanuel’s tone is crisp, the kind of clean that does not feel clinical. He picks with the pad of his thumb for roundness, then switches to nails for a bit of bite, and those shifts read clearly here. The sequencing helps, too. He knows when to drop a lively duet after a softer vocal turn, so your ear never gets stuck in one lane for too long. That flow has always been one of his quiet strengths.

What makes this sequel land is intent. Tommy is a show-stopper when he wants to be, but he is also a listener. On Accomplice Two, he seems to relish the role. He nudges a singer to the fore, then tucks in a passing chord change that lifts a chorus at just the right moment. It is the difference between a guest list and a band feel. You can picture these takes being nailed in a Nashville room with the red light on, the players grinning when a take locks in.

Spin it on a good setup and the guitars leap forward. Acoustic instruments like these love the wider grooves, so if you spot Accomplice Two vinyl at your local Melbourne record store, do not leave it sitting there. The separation between the parts makes the interplay easier to follow, and the transients pop in a way that streaming tends to shave off. If you prefer to buy Tommy Emmanuel records online, keep an eye on shops that specialise in vinyl records Australia wide, because Tommy Emmanuel albums on vinyl tend to disappear fast.

In the end, this is the kind of album you put on when you want to be reminded that virtuosity can be generous. It is a handshake, not a lecture. The playing is sharp, the song choices well loved, and the guests feel chosen for chemistry rather than marquee value. If you have been dipping into his catalogue and were waiting for an entry point that shows the full breadth of his musical friendships, Accomplice Two is the one to grab. It is a companion piece, yes, but it stands tall on its own.