“As with all of Dawson’s projects that I’ve heard, his layered guitars sit front and center, but he’s also supported by a fine cast of other players.”

“We closed our review for Gone Long Gone this way – “This is Dawson’s tour de force to date, among an already impressive body of work.” Eyes Closed, Dreaming is now a vital contender for that honor. The albums are two of a kind.”

“…Steve’s instrumental ‘Waikiki Stonewall Rag’ and ‘Let Him Go, Mama’, John Hartford’s ode to a quiet heroism of a life dedicated to music, are blissfully excellent. This is an album designed to keep you on your toes – every track is a winner.”

An artist who wears many hats, Dawson is also a session player, sideman, and acclaimed producer, and this very diverse body of work brings in horns, is often busy, but can also retreat to calm. It might also be one of the best albums of the year, which, if you’re looking at his past work, isn’t so surprising.

“He is an exceptional guitar player and the closest that I’ve heard to David Lindley, in his style of slide guitar playing, yes that good! He also plays electric and acoustic guitar and is a master pedal steel player and like David he loves to play a Weissenborn guitar.”

“Steve’s choice of subject matter ranges from timeless traditional ballads to twenties jazz and subtly memorable ditties such as John Hartford’s “Let Him Go On Mama” and Bobby Charles’ “Small Town Talk,” aided and abetted by top notch sidemen including Tim O’Brien and Fats Kaplin.”

“I’ve said it before and I’ll say it again, he is a master musician. A very easy to listen to and lively opener and a great start. Next up is one of four singles, A Gift, and his fingerpicked acoustic guitar just breezes in to your mind. This already has the makings of a top album.”

“All the more remarkable that this is, like the two previous albums, a pandemic recording with ‘Eyes Closed, Dreaming‘ yes benefitting from a plethora of the Nashville-based Dawson’s musical friends and colleagues – but not recording together as in the way we’ve now become used to parts were recorded in various home studies in Nashville, Los Angeles, Toronto and Vancouver and then quite expertly stitched together to give a real feel of the sessions being recorded in person and very much together.”

“Rounding up the covers, Dawson breathes new life into that old folk chestnut, House Carpenter. With Tim O’Brien on mandolin, Dawson performs it in a modern bluegrass fashion giving Billy Strings a run for his money. He closes the album with a solo performance of John Hartford’s Let Him Go On Mama which is perky and affectionate and, it goes without saying, perfectly performed.”

“Dawson along with his Henhouse Studio and house band there are gaining quite the formidable reputation as the go to guys for the best sounding recordings. His solo work is just as outstanding as these records show.”

“The originals and covers blend wonderfully and the accomplished remote contributions are from top musicians, including Allison Russell, Fats Kaplin and Tm O’Brien.”

“Thus a few of the many ways Eyes Closed Dreaming engages a listener’s attention and heart. It certainly doesn’t hurt to have mandolinist extraordinaire Fats Kaplin burnishing the album opening cover of Ian Tyson’s “Long Time to Get Old” or Tim O’Brien stepping up with a dashing mandolin solo of his own to enhance the old world flavor of “House Carpenter,” This is inspired, full stop.”

“That this is yet another beautifully crafted release from Steve Dawson (one of his best to date) makes it all the more third-album-in-a-year noteworthy – but that’s not really a surprise, given the quality of Dawson’s catalogue and the esteem and regard with which the multi-talented musician is held in roots music and its broader-scoped, Dawson-ised setting.”

“Eyes Closed, Dreaming is essential listening, even for those with but a marginal interest in Roots and Americana.”

“There are so many facets to EYES CLOSED DREAMING that each play takes you down a different route. Steve Dawson has one of the keenest ears in the business and expertly transmits this into records that secure a legacy both of his sources and increasingly himself. “

“After the undisputed prize number Polaroid Steve displays his unequalled skills on the Weissenborn and the ukelele on The instrumental Waikiki Stonewall Rag. Another well-chosen cover is Jack Clement’s Guess Things Happen That Way (0f Johnny Cash fame); it leads up to the stunning closing track, John Hartford’s Let Him Go Mama, which features just Steve’s vocals and Weissenborn; It is a great way to conclude a great album.”

“I’ve been listening to Eyes Closed, Dreaming for more than a month, and during each visit I discover something fresh to appreciate. For me, that is one of the marks of a great album. Listen closely for additional indicators of greatness. You’ll hear them.”

“Some of the best musicians roots music has to offer are on this, and on work like “Guess Things Happen That Way” their skill shines incredibly. Any Steve Dawson release is one to cherish and this one is no different.”

“The soulful mid-tempo song features Dawson playing sweet slide guitar and harmonizing with guest singer Allison Russell. Dawson switches to nylon string guitar for the lead instrument on the self-penned (with pal Matt Patershuk) "A Gift;" mid song he plays a haunting pedal steel solo.”

“The quality of playing across the three albums has been of the highest level and the featured musicians compliment Dawson so perfectly in the beautiful playing.”

“Waikiki Stonewall Rag” marries Dawson’s love of Hawaiian guitar stylings to that of the hillbilly East Coast, whereas in “Polaroid,” imagination and contemplation bordering on infatuation all emanate through the music and the words. All of it places Dawson in a category reserved for the best. Eyes Closed, Dreaming mesmerizes and entertains with ease and purpose.”

“Four original songs – ‘The Owl’, ‘A Gift’, ‘Hemingway’ and ‘Polaroid’- form the centrepiece - graceful, heartfelt and keenly literate in their observations about love, attainment and the ephemeral nature of time, each a masterwork of roots music songcraft.”

“The finale, Let Him Go Mama has Dawson all alone singing and playing his ‘Weissenborn’ guitar …. quite exceptionally, it has to be said; and the result is three minutes of outstanding and beautiful music.”

“His pleasing vocals switch effortlessly among all the styles represented on the album and are particularly effective on his unembellished version of John Hartford's "Let Him Go On Mama." Here, alone with his Weissenborn, his playing is especially resonant on this rich, varied, and exceptional album.”

“It’s imaginative and uplifting, not a downer. Dawson’s earthy vocals and down-home vibe add a fine touch to this 11-song set, including four originals. Many songs explore themes of love and fulfillment of life.”

“It’s a tribute to Steve and all the superb musicians involved that the whole album feels like it was recorded by musicians playing in the same room. The arrangements on the album are trademark Steve Dawson with lots of layers of guitars and a whole raft of instruments that are unusual in any context but particularly in Americana arrangements.”

“Lots of different moods on the disc, including the ironically titled Singin’ The Blues which is actually an instrumental. With Eyes Closed, Dreaming it seems Steve Dawson has saved the best for last. I have to be up early tomorrow for work but screw it, I’m listening to this one more time before bed. Street date is March 24th.”

“Beautifully recorded, sensitively arranged and played, Eyes Closed, Dreaming, like all of Steve Dawson’s albums is like a master class in composition, melody and counterpoint. From beginning to end, it is quite simply stunning and almost certainly features the most beautiful and engaging music you’ll hear this year.”