The Observer said The American Epic Sessions was “one of the most interesting music programmes ever broadcast. Wonderful.” Michael Watts in The Economist wrote the film was “unmissable and uncovers the origins of popular music.” Iain Shedden in The Australian noted “one of the highlights (and audience prizewinner) of last year’s Sydney Film Festival was the American Epic series of documentaries by British filmmaker Bernard MacMahon and producers Allison McGourty and Duke Erikson. The American Epic Sessions, brought together a wealth of contemporary talent. It’s an exquisite representation of the primitive power of American roots music and its enduring charm - music that stirs the soul.” Greil Marcus in The Village Voice praised the film for “performances so good you can hardly listen without thinking of how close each recording is to not existing at all.” Liz Jobey in the Financial Times hailed the film as “an extraordinary journey back through American song recording” and Ludovic Hunter-Tilney in the same paper remarked that “New York Rapper Nas does a superb cover of the Memphis Jug Band’s “On the Road Again”, exposing the hip-hop blueprint within the 1928 stomper.” Danny Eccleston in Mojo pointed out that “in one of the series’ most extraordinary moments, Elton John arrives toting a box-fresh lyric by Bernie Taupin and works it up in an instant, the song materializing in front of the viewers eyes before John and Jack White go for the take. There's the magic right there.” L. Kent Wolgamott in the Lincoln Journal Star praised it as “a fascinating picture. Among its highlights: A killer performance in Spanish by Ana Gabriel on a song originally done by Lydia Mendoza; Taj Mahal’s powerhouse take on Charley Patton’s “High Water Everywhere”; and Bettye LaVette's heartfelt recollections of being pushed away from early blues as “Uncle Tomish” in the ‘60s before she nails “When I Woke Up This Morning.” Stephen Thompson at NPR wrote that “watching Alabama Shakes' members tear into this brief but potent cover of "Killer Diller", you get insights into the magic of the equipment and studio, the timelessness of the song, and Alabama Shakes' own genre-and era-busting charisma.” James Moore in Gigwise observed “This need for greatness within that three-minute take is captured perfectly in the film, moments of silence before a blue light indicates “go” seeping with nail-biting tension and atmosphere. In every case, the results are astounding and the artists