I don't know if this will answer the question, but I'll try. Been thinking about what to say and how to distill it down to something less than 30 pages of text.

Note that all this is just my opinion based on my experiences with musical instruments and guitar. Each person is different in ways I can't imagine. Music is like spoken language or poetry, but it's more primal -- it bypasses the intellect and tickles your nervous system directly. When you listen to music, you're allowing the composer / musician to directly manipulate your nervous system.

First, a question. I assume there's music that really moves you. It might be The Planets, Beethoven, Voodoo Child, BB King, Handel, doesn't matter. When you listen, do you feel something in your gut, feel your stomach moving around, or feel tingles on your scalp, goosebumps, a warm sensation in your spine, or anything like that? If you don't, I probably can't help.

If you do, then you have the key. Work on getting something out of the guitar that does this to you. If it does it to you, it will do it to others.

Practice every day. Twice a day for 15 minutes each is good. Do more if you want and can. I sometimes play until my fingers are tired. Sometimes my right hand (picking / strumming) gets tired before my left hand. (This surprised me.) Don't do it to where it causes any lasting pain, but there will be some discomfort as you learn some of the stretchier chords.

Get a notebook and make a long list of all the things you want to touch on during a practice session so you don't waste time thinking about what to practice next. This list becomes obsolete rather quickly, like a week. Make a new list, discard the old. A list is good discipline. Do everything on the list, then you can play around and noodle.

A list might look like this:

Tremolo picking
A, D, E, Am, Em, Dm, C, G
E4, A4, C4, G4
G7, C7, B7, E7
Fmaj7, fake F chord

Hendrix style chords, maj, minor, 4ths
E7#9 chord, Purple Haze

Blues curl lick

Unison bend, hammer on
Pentatonic scales

Such a list helps drive you through your practice session. Two weeks from now, the list will be different. It tends to grow longer and longer as time goes on, but you can also run through it faster and faster.

If you've made it this far, yay. Here's some advice that I strongly recommend. Very strongly.

From what you said, it sounds like you want to get closer to the relaxed, fun way in which the guy in the video is playing. The only way to do that is to become good enough that you completely dominate the instrument and it becomes an extension of your body. This isn't magic. It takes practice, but the right kind of practice.

Most Important Thing

If you're looking at the fretboard in order to play the right notes, we've identified problem number one. If you watch Hendrix, Gales, Gary Moore, Stevie Ray, Terry Kath, Robin Trower, you'll see that none of them need to look at the fretboard. When Terry Kath (Chicago) played, arguably the most skilled guitarist ever, a total beast and Hendrix's idol, he NEVER looks at his guitar, ever. He's focused on the other musicians, leading the band with eye contact, or has his eyes shut.

Hendrix played with the guitar behind his back. So did Stevie Ray.

Glen Campbell did what is probably the most astonishing guitar stunt ever that no one has tried to repeat, nor do I expect anyone to. He played the William Tell Overture as the soloist in front of an orchestra, precision picking with a pick, on a TWELVE STRING electric guitar. Each string is a pair of strings tuned an octave apart. It's hard to finger and meant for strumming nice fat rhythm chords. Picking fast melodies on such a guitar is nearly impossible. Halfway through the overture, he moved the guitar on top of his head with the fretboard facing upwards and continued to the end of the piece. This is impossible, but he did it.

How do we get to that?

Bear with me here... Many beginning and intermediate guitarists make two big mistakes. They look at the fretboard to get their fingers in the right spots visually, rather than feeling it with their fingers. You can feel the strings, feel the frets, feel the neck.

Because of this, when playing a song, the rhythm is all herky jerky because they have to hesitate to get their fingers in the right spot so they don't play a clam and make a horrible noise. Lol. Some players get almost perpetually stuck here.

Here's a counterintuitive magic trick for curing that. Pick a rhythm that's reasonably slowish for the song, pattern or chord sequence, as slow as you need, and get your strumming going at a fixed constant rate. Use a metronome if you need to. There are metronome apps for your phone. Your strumming is like a machine that never, ever stops or hesitates for anything.

Your left hand then does the best it can to keep up. At first you play clams all over the place and it sounds awful. And, you keep doing this. And, somehow, mysteriously, your left hand quickly figures out how to get with the program, like a week or two. It has no choice. It's like playing with a band. The drummer keeps going, 1, 2, 3, 4, and you have to keep up, clams and all. There's no time to punish yourself for the awful clam you just played because the next beat is coming up right now. This works. I hate it when people say "trust me on this" but I'm saying it. Playing with another person or a band rapidly improves your playing for this reason: you HAVE to keep up with them.

Face the fretboard away from you, don't lean over and study the fretboard unless you're working on a brand new chord or run into some problem where you must take a look. And, then, play in the dark. This is a "trick" I learned when learning piano and it was fun to freak my mother out. It's not even a trick. Any decent piano player can play in pitch darkness and I've made it a point to play every instrument I've learned in the dark -- violin, sax, guitar, whatever. It's a tool. Learn to play your guitar in pitch darkness or put on a blindfold. Blind people play the guitar just fine and actually have an advantage. They don't have vision as a crutch so they skip that obstacle. If you're going to get good, you have to do this one way or another.

Once you get over the bumps above, you're on your way to carefree playing. This is the fast track for getting there.

Bottom line is you have to get good enough that you can roughly make what you feel in your gut come out of the instrument. When you do, your listeners will feel it too. That's how music works. It's the closest thing we have to telepathy -- musician's nervous system to yours without any interference. Not that you can't analyze music scientifically, you can. But that's not what's going on when you're sitting in the audience and letting Bach on pipe organ or Holst, or BB King, or Van Halen, or Elton John manipulate your emotions directly. It's kind of like sex only better. In my opinion, guitar and sax, especially electric guitar, are the best instruments we've invented so far for doing this.