Voice Teachers React to Dimash on The World’s Best


I’m now selling this shirt! There’s a link
in the description below. Hi, my name is Sam Johnson and I’m a voice teacher. Today I’m
here with my voice teacher from college and one of my good friends Dr. Marc Reynolds.
He is a voice teacher, and an acting teacher, and a stage director, and kinda has his hands
in a bunch of different pots, so I’m excited for you to hear what he has to share with
you about all of those different pots! We’re going to be reacting to and analyzing Dimash
and his six octaves taking on the battle round with The World’s Best. Such a gentle voice.
Ok what are you hearing so far? He started out so gentle and then has this immediate
flip where he goes to such a connected, full sounding voice. And then just like melts our
face off. Yeah I mean I think what we’re seeing here is really pretty awesome technique and
he kinda shows it all right now, right? The whole spectrum just goes BAM! of easy singing
though. Also really cool because we’re seeing an operatic sound, from like a light jazz/breathy
sound, to a really high Sam Smith-like poppy sound at the end. It’s so smooth we don’t
even realize that it’s happening until BAM! and it’s right there in our face. So it’s
really exciting to watch and to hear, and when I first heard it I was like “ok it’s
a breathy sound, it’s just going to be another breathy, poppy moment” and that’s fine, there’s
nothing wrong with that, but that contrast makes it super exciting as well. So the sound
that he’s getting out of himself, would you consider that to be an opera-style sound,
or what’s the difference between these? I think one of the things that’s really different
here is the shape that he has at the back here is more horizontal oriented, it’s more
like hat or something like that. It’s much more shallow. It’s more shallow. It’s still
open, and released, and comfortable, but it’s more shallow, and it’s more speech-like it
gives us that pop sound at the beginning. Then all of a sudden when he switches into
that different sound that orients and we add a little bit more heighth in the back, that
gets us the richness. He has the consistent vibrato in it that makes it sound kind of
operatic in nature. And he doesn’t lose the forward placement, which I think is really
important to note. But he does add a lot more space in the back. He doesn’t get rid of this
horizontal space but he adds a lot of heighth to it, and drops that jaw a little bit as
well which then gets us that richer, fuller sound. Then as he goes higher, he just loses
some of the weight to it. Some of that openness and tallness, if we were talking CT(cricothyroid)
function, so meaning he’s using vocal cords that are a little fuller, richer, and create
heavier sounds. He eliminates that completely, goes straight to these higher sounds that
let him go into that ‘countertenor’ in opera land, he’s singing in the countertenor range.
Mm-hmm, yeah that was up to the F5. Yeah, so we’re up in countertenor land singing these
really pingy/forward sounds, but still keeping some of that heighth and shape in the back.
Yeah, another thing: the change in vowel. You would not be able to get that full of
a voice if you kept such a small vowel. Like, you wouldn’t be able to go into full connected
voice with such a shallow vowel, like he used at the beginning. Otherwise it would just
be so compressed, and feed back all of this tension and his whole body would kind of explode.
So he’s trusting that he needs to open up a little bit. When he gets up to that F5,
to countertenor land rather than just normal people tenor land, he opens it wider. There’s
a point where you have to just start opening it a little bit wider or else it won’t work
anymore. It’s like those super high parts for guys around the F5 and above, and for
ladies about the A#5 and above. You just have to start breaking all of the rules that work
well around your passagio. Then he switches over to classical female mode where it just
goes into that super hooty type sound compared to a second before which was blaring and forward.
It’s the same acoustic coupling that a classical soprano would use. So I think that you’d probably
be able to hear that seeing as you can hear classical sopranos pretty well. Yeah so that
sound before this that was bright that we started going to countertenory land was really
more Sam Smith oriented, and then he switched back again to kind of a classical, REALLY
a countertenor sound. That is so high. Just crazy countertenor land. How rare is the ability
for a guy to be able to get up that high? Do you find that that’s something that anyone
can do or is that something that needs a genetic link? You know, I’ll be honest. It’s not all
that uncommon. There is a further extension up higher that operatic countertenors have
to have, that I can’t sing, right? There was a two week session where I was considering
singing countertenor but realized I just didn’t have that upper extension that I needed. It
just wasn’t happening. Same. What’s really interesting, is you’d think it would be a
higher natural speaking/tenory voice that would be able to get this sound. My experience
has been it’s actually the richer/fuller baritone type of voice that gets this type of sound
a lot easier. So that kind of begs the question of what’s the point in classifying someone
as a baritone versus a tenor versus a countertenor? And coming from the side of opera-land where
that actually does make a huge difference to where most of our viewers probably don’t
have that opera education. Right. Most of them are more into pop stuff. Right. And yet
we use the same language across the board. Like, what? What is the point of the fach
system, and do you think that it’s usable? Yeah, so he just used the term ‘fach system’
so for our viewers who aren’t familiar with it that is the classification system that
we’re talking about. Mezzo-soprano, countertenor, tenor, baritone, bass, and within those there’s
even more classification. There’s lyric-soprano, dramatic-soprano, there’s coloratura soprano.
The real function in opera-land is that it lets the directors and producers and artistic
directors cast a show quickly. They can hear 100 different auditions and then cast them
quickly. And say that this role is best suited for this voice type. There’s real problems
with that, and even when we don’t use the fach system when we’re talking about tenor
voices we say “this is a high voice.” or “this is a low voice.” There’s a singer that I’ve
been listening to lately Citizen Shade, I don’t know if you’re familiar with him, but
he has this really beefy low sound. Really beefy. And it’s gorgeous. And then all of
a sudden he pops up to the same ballpark that Sam Smith is. Same kind of sound, right? And
it’s shocking, just like this guy (Dimash). And I think the real problem with classification
in my mind is that it gets the singer into the wrong mindset. It gets them thinking “I
can only sing this. This is a high note. I don’t sing high notes. I don’t sing an F.”
Um, no, I’m sorry. Yeah! YOU CAN SING AN F. It’s just a very limiting mindset if you classify
yourself too early, and I find that people in my voice studio, and just all around are
so quick to try to get classified. They say “am I tenor, am I a baritone, I have no idea
what I am. Am I an alto? I sang alto in school all the time so I must be an alto.” It doesn’t
matter til you’re a really good singer, honestly. I think that if you’re not auditioning for
opera labeling yourself as a certain thing is almost more harmful than it is helpful.
Yes it’s nice to know kind of what’s easiest to sing if you’re going to audition for a
choir, because that’s where you have an expected “I’m going to spend a bunch of time in this
range.” But I mean you could be a soprano and sing alto in choir. That happens all the
time. ALL the time. Right? They sight read really well so we’ll put them in the alto
section. Yeah! And I’m with you, I think it can be really damaging. One of the reasons
I like pop so much and rock is that it’s more about what can you sing? What are the possibilities?
Not just range of notes but range of sounds and expression that you can get. Without putting
a label and judgement on it really fast and right away. It’s a “can you make certain sounds
that fit with this song, that make me emotionally react” right? And to me I think that that’s
something that’s really empowering, and I wish there was a little bit more of that freedom
and flexibility in opera-land that we have in pop music. There aren’t, and it’s more
in my mind a logistical money issue than it is an artistic issue. Cuz if you know what
you are in opera-land you can learn four roles and have a career. Exactly. I think that Dimash
is kind of just like a genetic freak. Being able to get above the C5, er no getting above
the C6 is so rare with pretty much anyone. Not getting into gender or biological sex
it’s just like getting that upper extension. And I’ve heard that he can go up there further.
He claims to have 6 octaves of range. Of USABLE range. And that really is kind of uncommon.
But he is also using his voice in a way that allows that instrument to shine well. Right.
And I think that if we took away the lessons in the things that he’s doing, we would actually
see more people be able to do that same thing. One thing that I think is really important
to notice here from a performance standpoint that feeds with what we’re doing voice-wise-
and the issue here is that this sounds so powerful. And it sounds so hard, like he has
to be working so hard. He’s making it look like it’s so much effort. So much emotion
behind it. But if you look really closely, that emotion is in what he’s doing with his
arms, his facial expression and his legs, and not with what he’s doing here in his voice,
and right around this area right here. Yeah, he is not engaging a bunch of extrinsic muscle.
The big muscles are there for show, not for helping with the vocal production. We are
seeing some stuff starting to pop out here, especially at the very top there. You know.
Uh. I feel like that’s inevitable. And it’s not an accurate way of discussing whether
or not there’s tension. Because seeing that bulge that you see with almost anyone if they
have a low enough fat content, like, it’s just going to happen. We’re going to see a
little bit there. And it’s quality of how much of it are we seeing, and is that a result
of negative or positive tension, right? And if you see other things starting to engage
like crazy. Or if you see the shoulders lock up with it. Then that shows that maybe this
isn’t just a natural occurrence. Maybe it is something that we are putting on top of
everything, and it’s just a consequence of singing too hard. But with him I don’t think
that’s the case at all. Yeah. The other thing that I think is really cool is we notice that
he’s singing these super long phrases, right? We would think that because he sounds so powerful
that he’s throwing a bunch of air at it. He’s not. He’s using a teeny t i n y thread of
air that he’s just keeping super consistent that’s letting him ride through these registers
like nobody’s business. What’s your favorite way to help someone find what it feels like
to have a consistent airflow. Do you say sing from your diaphragm? What’s your cliché?
That’s a great point. Diaphragm I think is really confusing. That’s not my favorite one,
just personally. I find that we say diaphragm when we point to our lower abdomen which is
not where it is. So that gets confusing. To me my favorite thing to do is to use the straw.
You know I love the straw. I love it. And to me that’s the easiest way to find the quantity
of air, the speed of air, yeah baby, the quantity of air, the speed of air, and the consistency
and to be able to monitor that. How do you use the straw? Just for the people who have
never played around with it. Cuz talking about straw has become very common in the last like
five/six years, but before that it seemed like no one was using it. Yeah, so for the
viewers out there, if you wanna come check out some of the videos on my site I talk about
some of those. I also highly recommend googling his name is Ingo Titze. If you spell it it’s
I – N – G – O – T – I – T – Z – E. He’s actually the voice scientist who really kinda championed
the straw a loooong time ago, and that’s where I picked it up from, and then it’s gained
more steam. He’s got some cool videos. But if I was to quickly explain what we’re doing
with the straw- basically we’re blowing through this little stirrer straw. The stirrer straw
is an important part so go to a bar, go to an airport or a restaurant if you don’t wanna
go buy some. You can go on Amazon and buy some. But it’s the stirrer straw. That’s because
it has a smaller diameter. Yeah, it has a smaller diameter which is the diameter that
better reflects the airflow that we need going through those vocal folds. The first step
to me is just blowing through it and finding the balance so we’re getting the air going
as fast as we can consistently through that straw without our cheeks really starting to
bulge. We don’t really want that bulge behind it. Then just start vocalizing through different
notes, trying to keep that same consistency. What I do is I hold the straw here, and I
put my hand in front of that straw so that I can feel that airflow. See if I’m feeling
pulses, any changes, any increase or decrease. And then once I get that consistent, I realize
what that feels like. I can sing through a song with that straw. You just vocalize underneath
it like *alien sounds* yeah totally like that. Sing through the song, and then I go through
the song every other phrase one with, one without. Seeing if I can keep that sensation,
that feeling the same. Another way that you can kind of use this if you don’t have the
stirrer straw, you might have a bigger diameter straw, is to just put it in some water. Putting
it underneath water adds added resistance, and it gives you a physical thing that you
can check out to see if you are blowing too much air, or if it’s not consistent at any
part. Because then if the bubbles stop, then you know that your air has stopped. Or if
the bubbles go crazy you know that you’re blasting a ton of extra air. So if you feel
like you’ve always struggled with the straw maybe go check that out. I think that it’s
too usable and it’s too useful to not make a regular part of your practice routine. Totally
agree. Any last thoughts, Marc? Yeah, if I was to share one last thought: I think it’s
easy to look at someone like this and try to find things to not like. Any time that
we look at a performance. His costume’s funky, you know that’s not natural, that’s… whatever.
What I would encourage you is any time you’re watching a performance, whether it’s a little
kid getting up, a grandma getting up, someone who sounds you know your first reaction is
“Oh please, stop singing,” is to first try to find not what’s going wrong, but the good
things. Right? And as I’m watching this- to me I’m watching this and I’m just excited
by it. There’s not a whole lot that I have to go against this. I think it’s a great show,
it’s exciting to watch, exciting to listen to. But I think when we’re watching the average
Joe, rather than getting in that critical mindset of finding the negative, get into
the critical mindset of finding the positive and the things you can take away from that.
And it just makes life so much better looking for that. But we all kinda get stuck in that,
of being so overwhelmed by things that it’s hard to see the silver lining. Lucky for us,
Dimash makes that very easy to see the silver lining. Completely. Well thank you again for
coming on, Marc! It’s been awesome having you here, and I am always thrilled about the
conversations that we have, and that we’re able to share that with you guys. So please
go check out Marc’s channel, there is a link in the description, and comment thanking him
for coming on this one, and subscribe to him so that you can see some of his awesome insight
in the future. We do similar videos, we do different videos, Marc is a superhero. Just
his overall way of looking at the voice is so positive and individual driven, rather
than trying to make someone fit in a mold. So I think that is well worth checking out.
Thank you for watching! Please like and subscribe. Leave a comment below, and also go check out
Marc’s videos, and comment ALL. OVER. THEM. Thank you! And thanks for having me on, Sam,
it’s always a pleasure to be talking with you and I’m excited that we get to share this
with your viewers and mine.

100 Comments

  1. I'm so glad y'all seem to like this video! I'd love to do more with Marc in the future. I just updated the captions, thanks for all the feedback about that! I'll try to do better with accessibility in the future.

  2. Sam as always you drop so many pearls of wisdom. I've learned so much from watching your videos. Now when I listen to music the subleties of the vocals really come to life.Its been great to revisit old favorites and hear them with this new perspective. Thanks for what you do.

  3. LOVED this with the both of you — hope to see him again soon on your channel! the conversation was much more rich and interesting imo

  4. Will you please react to any one of Auroras live performances or Kesha’s live performance of Praying? (I didn’t know she could sing so well and it was very moving)

  5. Loved your reaction! Have subbed to you.
    Could you do a reaction video to a Filipino girl group sings "NEVER ENOUGH" by 4TH IMPACT https://www.youtube.com/watch?v=8Bu-CKEjJk0 Have a Beautiful day.

  6. Try reacting on Wish 107.5 Lounge "I'll be there(Jackson 5)" by 4th Impact https://www.youtube.com/watch?v=QkpFR7Oc2YI Please, Thanks.

  7. Hi Sam!
    I absolutely love your videos, and your input. It's very informative and very easy to understand in comparison to my old voice teachers. These helps a lot, and I'd like to thank you for these amazing videos!

    If it's alright, could you react to Hozier singing "Take Me To Church"? I've got the link right here 🙂

    https://youtu.be/1nnRC6jDOCI

    Thank you! ✨

  8. I'd love to see you reacting to Dimash singing diva dance. Apparently he's the only man that can do it and I think it's proof that he's an angel lol

  9. I loooove Dimash, but that US tv show did him so dirty with his performances.. When he performed SOS I felt that his condition wasn't very good :(( He didn't seem physically well during some of his performances.. as if he was exhausted or maybe overworked.

  10. PLEASE check out Bruno Mars at the Apollo – Callin all my lovelies. Also, any live by Florence and The Machine.

  11. I really liked the reaction with Marc. He is very knowledgeable and seems like a nice and funny guy. Definitely subscribing to his channel. Would love to see you guys do more stuff together. Love the opera land wording. It's like it is it's own little dimension and the rest of music is in another one. Laughed when I heard it. Also as a Lord of the Rings fan had to get your new t-shirt, plus it is so cool. Can't wait for it to get here.

  12. His Mom singing like soprano and his dad is musician so famous in Kazakistan, they coming from a traditional music from there and he try to put anytime he can the traditional sound in his interpretecion. He working till had 5 years old to do that, and I think is for that he have so respect for what he can do with his voice, he deserve all the best for his hard working. So sorry for my bad english

  13. I had so much fun watching this! Please consider doing Kamelot – The Haunting or Sonata Arctica – Full Moon 😀

  14. The problem with the Fach classification is that it was developed in the German speaking countries and augmented to include Italian belcanto and French-Italian opera and is a mess. Too many special classifications for German singers. The whole thing needs a rebuild.

  15. I have been watching Sam's reaction videos for months and have enjoyed them immensely. They have taught me so much in such a short time. I recently came across Dr. Reynold's reaction videos and immediately thought the width. breadth, and style of his reactions were very similar to Sam's. And with this video I discover that Sam was Dr. Reynold's student!!! Awesome Collaboration gentleman!!! Thanks for sharing your love of singing.

  16. More Dimash please!!!! Also so nice to have to vocal coaches react to him! I didn't know about Marc before this video, thank you! Will check him out ^^

    And btw if you like Dimash, you should definitely react to Hua ChenYu as well! They have both been contestants in the Chinese singer show: I Am Singer (both came 2nd though haha). I would absolutely love to hear your analysis of him! He identifies as a rock artist/composer, but is very versatile and has an amazing stye of his own where he mixes everything from rock to Classic Chinese Opera to rap to ballads. He mainly uses his voice as an instrument to make different sounds and has composed many lyricless songs. He's also quite famous for his dramatic stage presence.

    "Child" will definitely blow you away with those vocals. It's a super sweet song. <3

    His cover of Jay Chou's "Nunchucks" is also very unique and special, lots of different styles in one song (more rap in this one).
    "Fake Monk" is more emotional, experimental and probably a bit odd, while "Ordinary Path" is another ballad.
    There are videos with English Subtitles available if you want to understand the lyrics as well. 🙂

  17. Thank you, Sam and Marc very much for this awesome reaction on 🤴🏻Dimash! We do appreciate your effort and helpful,interesting comments on his techniques! You are lucky, Sam, to have such a cool teacher, it was a pleasure to listen to your comments and thoughts! ⭐️Dimash was lucky to have his teachers who helped him and showed him the right direction with his singing abilities💛 We would love to see more of your reactions on Dimash’s performances together with Marc,🙌🏼💙🇰🇿🇺🇸

  18. Why is Dr mentioning Sam Mith all the time? Like wtf.. <Sam Smith sings like some falsettoish C5, E5 etc.. and he is like comparing Dimash F5 and above mix belting with Sam Smith? lol Even f he sad Bon Jovi type of sound, I woul dbe more ok then Sam Smith..coz it is lol, not saying anything aginst his knowledge ofc

  19. I just subscribe. I didn't really know that there were different techniques in singing. But can you react to Dimash's hello and the other in the Gakku Festival. Please react to those.

  20. Love your videos! Please, if you would, react to Dimash & Super Vocal Boys on Singer 2019 (Queen Medley). I'm interested in your opinion.

  21. Pls react to Dimash & super vocal boys singing Queen Medley on Singer 2019 in China, just released 2 days ago

  22. Funny how i just watched that teachers reaction to one the japanese songs and i saw him here😂 i was like… didnt i saw him somewhere?😂

  23. Ok Sam. This was a good one. But again, why sell out the way you did later on (ads)? You have knowledge, have a REALLY good discussion with your tutor. It all just get's spoiled by certain decisions…

  24. You should react to Hozier Do I wanna know? On BBC radio 1. Makes a song I love so much even better by taking a hauntingly beautiful approach on it

  25. Please reactions to the best voice in the World…
    Voice the Ángel!
    Dimash/ Love is like a dream👉🏻https://youtu.be/xLEQzfqO_l0

  26. i like what you said about labeling/categorizing the voice limits a persons singing ability.. because it made me realize that my mind set, being labeled as such, is not really helpful in making me want to explore more with what i can do more with my voice.. it's always like i should sound like this because i am a soprano or an alto.. thank you both for saying that..

  27. Have you had a chance to listen to this duet? It is beautiful. Love hearing your insights. https://youtu.be/8LEXQctl0Q0

  28. He's definitely among the most savage vocalists I've ever listened to. I think his usable range is about 4 octaves, probably up to F6 in super head voice, because as I remember he barely phonates from there to the D8 whistle note, which is his highest note. There is a blank range there. Besides, I wish more people will listen to Tom Chang, a Taiwanese pop sopranist who passed away in 1997. I believe he could sing up to A5 in mixed voice (in a live show during which he sang from A4 up to A5 with pretty consistent tonal quality) & D#6 in head voice (in a studio song). Dimash, Vitas & Tom are the three most savage male vocalists I've ever known.

  29. I would love if you can make an observation to the amazing artist Lara Fabian. Maybe with her song "Adagio" live from Lara With love. She's so brilliant, i would like to learn about her technique https://youtu.be/jKtNuLG5jAo.

  30. Yes it's true that baritone and bass voices can have strong falsettone sounding very much like modal voice. However, some tenors naturally can sing up to B6 in connected head voice right up there with Mezzo-sopranos and contraltos. In the end, it really doesn't matter how you do it… as long as the result is pleasing. Male Sopranists though are a rare breed indeed though. Most counter tenors cannot sustain SOPRANO tessitura at best Mezzo. So in this Dimash is exceptional. I saw a little film about him, one of his voice teachers actually called him a natural "contralto". I find that comment really interesting… Up to F5 notes should be easy as pie???

  31. I’ve listened to their conversation more than I’ve listened to my past teachers 😂😂 so educational .❤️♥️ loved this video ♥️

  32. I am very thankful to you! If it was not for your channel, I would have never found Dimash and his out of this world voice. Thank you for all you do and provide to your channel. <3

  33. Thank you so much for this reaction!

    Such a pleasure to watch good quality reaction video!!! And really nice comments/feedbacks, thank you!

    I hope you'll find time to react to this video of Dimash singing Russian version of "Ascolta La Voce" (originally written for Lara Fabian), this video some kind of mix of his performances from 2 solo concerts that he had 22-23 March this year in Moscow. Actually his first solo concerts in Russia, we are so proud of him!

    This video is truly magical ✨✨✨ so please have a look and share with us your reaction/opinion 🙏🙏🙏

    https://youtu.be/N8iIeYT7iP8

  34. They’ve made a really good point in classification. In school I started off as a soprano and then as my voice started to change, my teacher moved me down to an Alto 1. I was upset because I had never sang as an alto and I thought that’s it was going to be harder for me to reach those lower notes. I was stuck in that soprano mentality that I almost wanted to reject my voice. I became really insecure about my voice because I thought that I wasn’t able to sing high notes anymore. I felt that I was limited to only singing lower notes. My teacher had told me that vocally I was stronger and I sounded better ( which I agree now) but I’m still insecure about my voice tbh

    I’ve been binge watching your videos and it’s helped me get a better understanding from my teacher and other vocal coaches’ point of view. I’ve gained a little more confidence in my voice and I don’t really feel limited as much as I did before. I just need to practice more I guess

  35. Sam, please react to Love is Like a Dream. Thanks! The one where he is close up, not the far away one recorded by an audience member.

  36. This is such a terrific video. You guys make everything technical really cool. Thank you 😻I’m totally addicted to anything Dimash performs and love to hear how fantastic his voice / instrument truly is.

  37. I imagine Mr Rogers would have done analysis like you, if that had been his thing. Thank you for bringing so much positivity into the world. Your coach is just as great.

    Dimash is an amazing vocalist.

  38. If I recall correctly, this is Sam's vocal teacher? Might be remembering wrongly. I would give anything to be able to sing again with my vocal teacher.

  39. I've posted it elsewhere as well, I think Fach classification system was the shotgun marriage between German and Italian opera (more like musket wedding). It has too many compromises and too many special categories for German singing and forces singers. into pigeonholes. It is outdated. Callas( my favorite singer of all time) was initially classified as mezzo.

  40. Да, скоро, будут изучать нашего феномена во всех музыкальных учебных заведениях мира! Алга Димаш!

  41. Great video Sam and I also love Marks videos as well! Totally hoping you will do Love is like a dream. It's amazing!

  42. Wait a minute, its because I can sing really low nice and full, is the reason I can sing ridiculously high? I didn't know that! Most chicks can't sing high baritone.

  43. He sounds gorgeous in head voice, in full voice in his lower range, then he goes up top for the full-blast high note and it's the sound you get squeezing a dog toy too hard.

  44. Thanks for the video, this is a great duo of knowledge! To my ears though this kind of singing is very unpleasant to listen to. It's a piercing whine to me.

  45. This has to be said: Nothing above his C5s are mixed, just head voice or falsetto, his not a countertenor, he's a tenor with a really natural flexibility and optimal training BUT… His "belts" (head voice on the mask) in the 5th octave are so squeezed and tight, it's really nasty sound. But when he places his head voice in the "right place" (the head) sounds amazing.

  46. can u do more Dimash? I really like ur analysis~💐💐💐~ and maybe u can talk about how his voice has changed over these years? etc… he has quite a few new songs Love is Like a Dream and Ogni Pietra from his Arnau Concert 💖 💖 💖

  47. please please sam do a reaction video on dimash's ''Love is Like a Dream''. THIS song is so rich so deep so smooth so emotional so intimate so good!! pleaseeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee

  48. Please, please, please do the reaction together for the song Ogni Pietra-Olimpico.The song is written specially by Dimash and his voice capabilities. Concert 29.06.2019 Arnau. Epic !!! https://www.youtube.com/watch?v=dkPS6t84qg4

  49. Aha, now I know why I liked so much Dr. Marc's video I saw yesterday…😄 BEST YouTube voice teacher reactors.

  50. Please react to Diva Dance and his songs where he goes to whistle tones. His vocal range is showcased much better!

  51. ; Not Eric Carmen, and Rachmaninoff.
    https://youtu.be/x8l37utZxMQ
    Um, well, this! https://youtu.be/IbqS3kJjhKM
    Vocal fireworks, and ego, aren't quality.
    "Karaoke night", and "talent competitions",
    don't encourage quality vocals.

  52. You should hear Dimash sing " Unforgettable Day " He sings the highest note ever. To me it is just below a dog whistle. If you have never heard this song, IT IS A MUST!!!!!

  53. Бизнес, и ничегошеньки! Оценили и дальше в поисках стоящего трофея. Его голос- товар для них, мы перешагнули черту невозврата, а может нет?
    Напишем стихи, нарисуем картины. Дима смог, лишь бы не скурвился.

Leave a Reply

Your email address will not be published. Required fields are marked *