The Bandwich Tapes

Episode SummaryOn this episode of The Bandwich Tapes, I sit down with Liam Duncan, the Winnipeg singer-songwriter, producer, and bandleader better known as Boy Golden. Liam has been carving out a distinct lane in modern roots music through records like Church of Better Daze, For Jimmy, For Eden, and now Best of Our Possible Lives, his 2026 album released by Six Shooter Records. Along the way, he has earned major recognition in Canada, including a Juno nomination for For Eden and a Canadian Folk Music Award, while continuing to grow as both an artist and a producer.  We begin with the new album itself, which feels relaxed on first listen but reveals a deeper level of craft the more time you spend with it. Liam talks about the balance between intentional songwriting and the freedom of a loose studio environment, and he explains how careful pre-production gave the band room to breathe once the red light was on. That combination of structure and openness runs through the whole conversation.We spend a good stretch of time on the making of Best of Our Possible Lives, including Liam's collaboration with co-producer Robbie Lackritz and a remarkable studio cast that includes Pino Palladino, Abe Rounds, Austin Parachoniak, FONTINE, Gabe Noel, and Joseph Shabason. Liam shares what it was like to sing and play inside a rhythm section that strong, how live the sessions really were, and why letting go of technical responsibilities helped him become a better performer in the room. The result is a record that feels warm, human, and deeply played.  From there, the conversation opens out into larger questions about communication, collaboration, songwriting, and identity. Liam talks about learning to speak differently to different musicians, the value of being both a bandleader and a sideman, and why he does not feel especially tied to recreating his records onstage. We also get into the meaning behind the name Boy Golden, the freedom of writing through an alter ego, and the way fiction, metaphor, and autobiography all live together inside a song.What I love about this conversation is that Liam is thoughtful without sounding guarded. He is clearly serious about songs, sound, and arrangement, but he also leaves room for instinct, humor, and surprise. This episode is about more than one record. It is about what happens when an artist learns to prepare deeply, trust the people around him, and leave enough space for the music to become what it wants to become.Key TakeawaysLiam built Best of Our Possible Lives through a mix of deliberate songcraft and a relaxed, collaborative studio process.Working with players like Pino Palladino and Abe Rounds gave the music a rhythmic center that made everything else feel easier to sing and play over.Sharing production duties with Robbie Lackritz allowed Liam to step away from technical tasks and focus more fully on performance.  He adjusts how he communicates musical ideas depending on the player, whether that means theory, feel-based language, or simply playing something through a few more times.The Boy Golden name gave Liam more artistic freedom than writing under his own name, especially in how he blends truth, fiction, and storytelling.He values live performance as an art form in its own right and is not especially interested in reproducing studio recordings exactly onstage.He is already thinking ahead creatively, including new writing methods and experiments with combining multiple song ideas into larger suites.Music from the EpisodeBoy Golden - You Got itBoy Golden - SufferBoy Golden - The Matter at HandBoy Golden - Best of Our Possible LivesBoy Golden - ChickadeeAbout the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, songwriters, producers, and creative thinkers for thoughtful conversations about craft, collaboration, career, and the deeper philosophy of making music. It is a space for stories, process, and the lived experience behind the work.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with percussionist, composer, and educator Michael Burritt for a wide-ranging conversation about teaching, performing, composing, and the responsibility that comes with shaping generations of musicians. Michael reflects on his years at Eastman, the path that brought him there, and the deep sense of purpose he feels in helping students grow not just as players, but as people.We spend a lot of time talking about mentorship and what it means to build a studio culture rooted in excellence, curiosity, humility, and trust. Michael shares thoughtful reflections on former students like Brett Dietz, Jake Nissly, and Peter Martin, and what makes it so meaningful to watch students go on to become artists, educators, and leaders in their own right. What comes through clearly is that for him, teaching has never been about producing one type of player. It has always been about helping each student become more fully themselves.We also dig into the evolution of percussion pedagogy and marimba playing over the last few decades. Michael talks about the opportunities and distractions that come with instant access to recordings, the increasing technical level of incoming students, and the importance of still building a strong pedagogical foundation. He speaks candidly about sound, time, phrasing, touch, and the long arc of helping a student develop an ear that demands more of their own playing.Along the way, we get into composition, repertoire, and how marimba literature has expanded over the course of his career. Michael shares how he approaches writing for the instrument, what happens when non-percussionist composers write for marimba, and why the best music still puts musical meaning ahead of technical display. By the end of the conversation, what lingers most is Michael's humility. For someone who has had such an enormous impact on percussion, he keeps coming back to gratitude, relationships, and the privilege of being part of an art form that is still growing.Key TakeawaysMichael sees teaching as both a musical and human responsibility, with equal emphasis on artistry, character, confidence, and humility.He takes great pride in building a studio culture where students are challenged, supported, and encouraged to develop their own distinct musical identities.Today's percussion students often arrive with higher technical ability and more exposure to recordings, but not always with the same step-by-step pedagogical grounding.For Michael, great playing starts with the ear: students have to hear the sound they want deeply enough that their hands learn how to produce it.He believes percussion pedagogy still needs more repertoire that bridges the gap between intermediate literature and major large-scale works.As a composer, he moves between the instrument and the keyboard, always trying to balance intuitive writing with musical structure and instrumental understanding.When he reflects on legacy, he returns less to accolades and more to relationships, student growth, and the chance to remain part of his students' lives long after they leave school.Music from the EpisodeMichael Burritt - Sweet Dreams and Time MachinesMichael Burritt - Burritt VariationsMichael Burritt - Into the AirMichael Burritt - White PinesAbout the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, composers, educators, and creative artists for thoughtful conversations about craft, collaboration, career, and the deeper stories behind a life in music. It's a space for honest dialogue, musical curiosity, and the kinds of conversations that go beyond the surface.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with composer Adam Schoenberg for a thoughtful and deeply human conversation about artistic identity, creative conviction, and the long arc of a life in music. Adam reflects on the early success of Finding Rothko, the orchestral work that helped put him on the map, and what it means to look back on a piece written in his twenties with both gratitude and perspective.We talk about the tension between writing to please others and writing from a place of honesty. Adam shares a formative story from his student years about reshaping a piece to fit institutional expectations, only to realize later that the version that truly sounded like him was the one that opened doors. It leads us into a wider conversation about tonality, contemporary classical music, and why he believes today's musical landscape is more open to different kinds of expression than it once was.Adam also opens up about mentorship, education, and the very different kinds of teachers who shaped him along the way. We discuss studying with John Corigliano, the emotional difficulty of feeling artistically out of place as a young composer, and how those experiences ultimately influenced the kind of teacher he wanted to become for his own students.One of the most moving parts of our conversation centers on Adam's recent health crisis and the way it has changed his relationship to composing, ambition, and time. He speaks candidly about depression, survival, recovery, and the vulnerability of returning to the page after a long silence. We also talk about his percussion concerto Losing Earth, his collaborative relationship with percussionist Jake Nissly, and a powerful new work on the horizon: a Concerto for Body that explores illness, healing, and the orchestra as a living system.Key TakeawaysAdam Schoenberg's breakout orchestral work, Finding Rothko, launched his career and continues to resonate with audiences nearly 20 years later.He learned early on that shaping music to satisfy gatekeepers can come at the expense of artistic truth.Studying with mentors like Robert Beaser and John Corigliano helped him refine both his craft and his confidence as a composer.Adam sees today's classical music world as more stylistically open, with greater room for composers to write in an authentic voice.His percussion concerto Losing Earth, written for Jake Nissly and the San Francisco Symphony, grew out of a highly collaborative process and a desire to create an immersive musical experience.A serious medical crisis took Adam away from composing for nearly two years and forced him to rethink identity, ambition, and what kind of work still matters to him.His upcoming Concerto for Body reflects a new creative chapter shaped by illness, survival, and the experience of coming back.Music from the EpisodeAdam Schoenberg - American Symphony - I. Fanfare - Kansas City Symphony (Michael Stern, Conductor)Adam Schoenberg - Finding Rothko - III. Red - Kansas City Symphony (Michael Stern, Conductor)Adam Schoenberg - Losing Earth: Concerto for Percussion & Wind Ensemble - The University of Texas Wind Ensemble (Jerry Junkin, conductor) - Jake Nissly - percussionAbout the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, composers, songwriters, and creative artists for honest conversations about craft, collaboration, career paths, and the deeper stories behind the work. It's a space for thoughtful musical dialogue, with a focus on process, perspective, and the lived experience of making art.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with composer, performer, and educator Casey Cangelosi for a conversation that moves comfortably between teaching, podcasting, composing, and the realities of building a life in the percussion world. Casey teaches at James Madison University, where he directs a busy percussion studio and constantly balances artistic ambition with the practical challenges of giving students meaningful performance opportunities.We talk about how he approaches programming percussion ensemble, often leaning toward smaller-group repertoire that allows more students to develop chamber instincts and real musical ownership. That naturally leads into a larger discussion about education, specifically the gap that can exist between strong performance skills and deep knowledge of repertoire. Casey makes a compelling case for listening, score study, and curiosity as essential parts of becoming a complete musician.A big part of Casey's recent creative life has been the Percussion Podcast, where he hosted more than 300 episodes of conversations with percussionists and composers. He reflects honestly on what that project gave him, as a communicator, teacher, and community builder, as well as the real workload of producing that many episodes and the challenge of keeping conversations fresh over time.We also spend time inside Casey's composing process. He talks about the difference between writing for hands versus writing for humans, and how limitations, instrumentation, skill level, or context can actually unlock more interesting musical ideas. Increasingly, he's thinking about accessibility in repertoire: writing music that still feels compelling but can reach more performers instead of only fitting one ideal player.Toward the end, Casey shares some of the unexpected places his music has recently appeared, including projects connected to theater, dance, and visual art, from a performance context in Mannheim, to an installation tied to Ligeti's 100 Metronomes, to a circus production in Italy using his piece Bad Touch. It's a reminder that percussion music continues to travel in surprising directions.Key TakeawaysTeaching requires balancing artistry and logistics — ensemble programming often means finding ways for more students to perform meaningfully.Listening and score study deepen musicianship — strong playing should be paired with a deep knowledge of repertoire.Podcasting builds community but demands consistency — producing hundreds of episodes requires serious time and energy.Constraints can unlock creativity — limitations often lead to stronger compositional ideas.Writing for performers matters — accessible repertoire can reach more musicians without sacrificing musical depth.Percussion music is expanding beyond traditional venues — Casey's work now appears in theater, visual art, and interdisciplinary projects.Curiosity fuels long careers — staying open to new contexts keeps creative work evolving.Music from the EpisodeScry - Casey CangelosiBlink - Casey CangelosiThe Big Audition - Casey CangelosiLigeti: Symphonic Poem for 100 Metronomes - Casey CangelosiAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer and songwriter Lila Forde for a conversation that feels like it's unfolding mid-song, equal parts instinct, craft, and heart. I actually discovered Lila in the most “Bandwich” way possible: while preparing for my episode with Larry Goldings, I heard her voice in a video and immediately texted a few musician friends saying, “You need to hear this singer.” That moment led to this conversation.Lila shares how her collaboration with Larry Goldings has been developing, and the creative process behind it: record everything, follow the spark, and build outward from the accidental moments that feel alive. Hearing her describe that approach, trusting discovery instead of forcing results, made me even more excited about what they're creating together.We spend a lot of time talking about voice, not range or technique, but identity. Lila recalls a powerful moment from John Legend during her time on The Voice: "Don't try to out-sing anyone… just be Lila." That idea opens up a deeper conversation about influence versus imitation, the pressure to fit into genre boxes, and the constant temptation to chase whatever sound the internet is rewarding in the moment.Lila's musical roots run deep, from classical piano at home to years in the Seattle Girls Choir, and later jazz studies that reshaped how she hears harmony and melody. She explains how ear training and solfege still influence her songwriting today, and why understanding just a little bit of theory can unlock creative freedom for singers.We also talk honestly about the gig-life reality that many musicians know well: some of your biggest growth happens when nobody is paying attention. For Lila, that meant years of hotel-lobby gigs, four hours a night, five nights a week, where she learned to experiment, take risks, and build a durable musical voice. We close by talking about her debut album Vessel, recorded live with the band in just three days, and how she's stepping into a bigger creative leadership role as she works on her next record.Key TakeawaysAuthenticity defines artistic voice — the goal isn't to out-sing others, but to sound like yourself.Creative discovery often comes from accidents — capturing and following spontaneous musical moments can lead to powerful ideas.Influence is different from imitation — artists grow by absorbing influences while protecting their own identity.Musical training builds creative vocabulary — ear training, harmony, and theory can open doors for singers.Gig experience shapes real musicianship — long, quiet gigs often provide the space to experiment and grow.Recording live captures energy — tracking Vessel with the band in three days preserved the immediacy of the music.Leadership evolves with each project — Lila is stepping further into the creative driver's seat with her next record.Music from the EpisodeTemptation - Lila FordeAll I Expected - Lila FordeBrick by Brick - Lila FordeAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Billy Allen and Jay Burgess from Billy Allen + The Pollies for a conversation that feels less like an interview and more like hanging out with musicians who care deeply about feel: the kind of musical quality you can't really quantify. Still, you know immediately when you hear it.We start with a full-circle moment: the band was scheduled to play Smith's Olde Bar in Atlanta the night of our conversation, a venue I know well. That quickly turns into stories about the realities of life as a working band: stairs, load-ins, and the kind of shared touring experiences that musicians everywhere instantly understand.From there, we trace the long arc of how Billy and Jay's collaboration actually came together. Their connection began years earlier when Jay first heard Billy singing in a bar, but it took time for the right musical moment to develop. That theme of timing runs through the entire conversation, how artists grow into themselves, and how patience can be the difference between a short-lived project and something sustainable.One of my favorite parts of the conversation centers on their philosophy about recording. Billy and Jay talk about their love for capturing music as a band in the room, embracing the push and pull of human tempo and the small imperfections that give a track its life. Jay describes himself as a “perfectionist at imperfection,” and we unpack that idea through classic records that breathe, groove as personality, and what “Southern” really means musically, less about technical flash and more about emotional honesty.We close by talking about what's ahead: the creative pressure of follow-up releases, the temptation to chase past successes, and why the healthiest path forward might be to keep writing, recording, and trusting the process.Key TakeawaysFeel whether the foundation of great music — groove and emotion often matters more than technical perfection.Timing matters in creative partnerships — the right collaboration can sometimes take years to develop fully.Touring creates a shared language among musicians — the realities of life on the road shape the band experience.Recording together captures something unique — the push and pull of human tempo can't be replicated digitally.Imperfection can be musical strength — small flaws often give recordings their personality.Southern musical traditions emphasize soul and storytelling — emotional honesty over technical showmanship.Trusting the process is essential — the best songs often reveal themselves when artists give them time.Music from the EpisodeAll of Me - Billy Allen + the PolliesLady Luck - Billy Allen + the PolliesIf You Want Me to Stay - Billy Allen + the PolliesAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the stories, influences, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Texas songwriter Amber Westerman for a conversation about new chapters, creative honesty, and the courage it takes to build a life that actually fits. Amber's journey has taken her from farming in Hawaii to writing songs in Nashville, and now back to a place that feels more like home.We talk about that turning point—recognizing when a path that once felt exciting no longer feels right. Amber shares what it meant to leave Nashville behind and return to Texas, and how that decision helped reconnect her with the reasons she started writing songs in the first place.Amber also speaks candidly about the less glamorous parts of being a modern artist, including social media burnout and the pressure to chase trends. Instead of leaning into the constant push for visibility, she's chosen to focus on authenticity and genuine connection with listeners—something that comes through clearly in both her songwriting and the way she approaches her career.Along the way, we talk about the story behind her single “Barefoot Days,” how Hawaii continues to shape her musical perspective, and what's coming next as she moves forward with new music and her band. It's an honest conversation about staying grounded, trusting your instincts, and building a creative life on your own terms.Key TakeawaysCreative paths evolve — sometimes the most important move is recognizing when it's time for a new chapter.Place shapes the music — Amber's time in Hawaii and Texas both deeply influence her songwriting voice.Authenticity matters more than trends — real connection with listeners lasts longer than viral moments.Social media pressure is real for artists — navigating that landscape requires intention and boundaries.Songwriting grows from lived experience — personal shifts often lead to deeper creative work.Returning home can reset perspective — reconnecting with roots can bring clarity and purpose.Building a sustainable music life requires honesty — both with yourself and with your audience.Music from the EpisodeBarefoot Days - Amber WestermanAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with percussionist Jake Nissly, Principal Percussionist of the San Francisco Symphony, for a conversation about what it actually takes to build and sustain a career at the highest level of orchestral playing. Jake's résumé is remarkable, but what stands out even more is the range of hats he wears: orchestral musician, soloist, educator, department chair at the San Francisco Conservatory of Music, drum set player, former drum corps kid, and even Little League coach.We spend time unpacking the reality of orchestral auditions, the intense preparation, the psychological pressure of playing behind a screen, and the almost figure-skating-level precision required to compete in that world. Jake walks through his own path: winning the Detroit Symphony job at 26, then later the Cleveland Orchestra, and ultimately facing the difficult experience of not receiving tenure. Rather than ending his trajectory, that moment reshaped it and eventually led him to the San Francisco Symphony.One of my favorite parts of this conversation centers on Jake's concept of feel. He credits much of his orchestral success to his background in drum set and drum corps, where groove, flexibility, and listening are everything. That experience, he says, translates directly into orchestral playing, even in repertoire like Mahler or Ravel's Bolero, where there's still a pocket to find if you're listening closely enough.We also talk about teaching and the changing landscape for young musicians. Jake shares thoughtful insights about how YouTube and digital access have transformed preparation, often producing incredibly polished players who sometimes struggle to develop ownership, personality, and soul in their playing. It's an honest conversation about pedagogy, resilience, and the kind of musicianship that lifts everyone in the room.Key TakeawaysOrchestral auditions demand extraordinary precision — success often comes down to microscopic musical details.Career paths are rarely linear — setbacks can become turning points rather than endings.Groove matters in orchestral music — Jake's drum set and drum corps background inform his orchestral feel.Listening is the core skill — great musicians adjust in real time to the ensemble around them.Technical mastery alone isn't enough — personality and ownership bring music to life.Teaching requires adapting to new generations — digital resources have reshaped how students prepare.Leadership in music is collaborative — the best players elevate the entire ensemble.Music from the EpisodeJohn Adams - City Noir: I. The City and its Double - St. Louis Symphony (David Robertson, conductor) - Jake Nissly - drum setAdam Schoenberg - Losing Earth: Concerto for Percussion & Wind Ensemble - The University of Texas Wind Ensemble (Jerry Junkin, conductor) - Jake Nissly - percussionAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Elizabeth Ziman of Elizabeth & the Catapult, and at the time of this conversation, she's about to release her new album. Now that the record is officially out in the world, we get to talk about everything that went into bringing it to life.We begin right at that moment, standing on the edge of a release. Elizabeth describes the feeling of finally letting go of a project after years of writing, recording, and refining, comparing it to sending something deeply personal out into the world and hoping it finds its place.From there, we dig into how this album differs from her past work. What started as scattered home recordings across multiple cities eventually became a deeply collaborative project, bringing together friends, choir members, and longtime collaborators. It's a record shaped not just by sound, but by movement, transition, and a desire to reconnect after a period of isolation.We also spend time talking about something that really resonates: the balance between perfectionism and letting go. Elizabeth shares how some songs took years to finish, while others were written and recorded quickly, and how learning to trust both processes has been a major part of her growth as an artist.There's also a fascinating conversation about the realities of being an independent artist today, the tension between creating meaningful work and navigating the demands of social media, promotion, and constant visibility. Elizabeth speaks candidly about that push and pull, and how she tries to stay grounded in what actually matters: the music and the connection it creates.One of my favorite moments in this episode is going full circle, talking about seeing her live back in 2009 at Eddie's Attic in Atlanta. That moment becomes a springboard into reflecting on a nearly 20-year career, and how her perspective on music has shifted from “this is hard” to “I get to do this.”We also explore her background, from classical piano and Manhattan School of Music competitions to Berklee, where she found her artistic voice and began collaborating with musicians like Esperanza Spalding. Along the way, we talk about film scoring, directing a women's choir, and the many creative paths that continue to shape her work.This is a conversation about evolution, perspective, and learning to hold both discipline and freedom at once.Key TakeawaysElizabeth Ziman's new album is now out, marking a deeply collaborative and expansive creative chapter.The project began as home recordings across multiple cities before evolving into a full studio production.Balancing perfectionism with spontaneity has become central to her songwriting process.The modern music landscape presents both opportunities and challenges, especially around visibility and promotion.Nearly 20 years into her career, her perspective has shifted toward gratitude and creative freedom.Her background in classical piano and Berklee continues to influence her work today.Collaborating across disciplines—film scoring, choir directing, and teaching—feeds her creativity.Music from the EpisodeResponsible Friend - Elizabeth and the Catapult50/50 - Elizabeth and the CatapultBored of Myself - Elizabeth and the CatapultI Love You Still - Elizabeth and the CatapultAbout the PodcastThe Bandwich Tapes is my chance to sit down with musicians, songwriters, and creative artists for thoughtful conversations about their craft, their journey, and the experiences that shape the music we hear.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Ryan Dart for a conversation that goes far beyond music, into growth, healing, and what it really means to live honestly as an artist.We start with Ryan's songwriting process, which is less of a routine and more of a way of life. Whether he's hiking, sitting in a restaurant, or wrapping up the day, writing has become a daily practice, one that serves as both therapy and a way to process the world around him.From there, we rewind to his early years, growing up in rural Arkansas, surrounded by music from artists like Bob Dylan, Johnny Cash, and Townes Van Zandt. That foundation shaped not only his sound but also his approach to storytelling and songwriting.Ryan shares his unique journey through the music industry, working as a producer, engineer, tour manager, and guitar tech, including time on major tours with bands like The Who, Aerosmith, and Van Halen. Seeing the industry from every angle could have pushed him away from music, but instead, it clarified his purpose.We spend a lot of time discussing something at the center of this episode: growth through hardship. Ryan opens up about going through a divorce, rebuilding his life, and how that process completely reshaped his songwriting. Rather than rushing to document heartbreak, he allowed time and healing to transform those experiences into something deeper and more honest.That same honesty carries into a conversation about sobriety, self-awareness, and learning to let go of people-pleasing. Ryan talks about how removing those layers has opened his creativity in ways he never had access to before, and how writing from a place of truth has changed everything.We also get into the practical side of his current creative life, recording his new album in Colorado, committing to writing and releasing a new song every week, and building a body of work that reflects who he is right now.This is a conversation about starting over, trusting the process, and creating from a place that's real.Key TakeawaysRyan Dart approaches songwriting as a daily practice rooted in observation and emotion.His early influences—from Bob Dylan to Johnny Cash—shaped his storytelling voice.Working behind the scenes in the music industry gave him a full perspective on the business.Growth through divorce and personal reflection led to a completely new songwriting voice.Sobriety and self-awareness have opened up a deeper level of creativity.Letting go of people-pleasing has allowed him to write more honestly.His weekly songwriting project is building both discipline and a large creative catalog.Music from the EpisodeIf Love Don't Break You - Ryan DartDirt Road Woman - Ryan DartDancin' On Your Porch - Ryan DartAbout the PodcastThe Bandwich Tapes is my chance to sit down with musicians, songwriters, and creative artists for thoughtful conversations about their craft, their journey, and the experiences that shape the music we hear.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with guitarist, composer, and producer Matthew Stevens for a conversation about identity, collaboration, and the kind of artistic clarity that only seems to come through real-life change. I've been a fan of Matthew's playing for a long time, so getting to talk with him about his new self-titled record felt especially meaningful.We start with the album itself, and one of the first things I ask him is why this record carries his name. Matthew shares that the years leading up to it brought major shifts, moving from New York to Boston, beginning to teach at Berklee, going through divorce, and eventually finding a new sense of grounding in his personal life. What comes through clearly is that this album feels like his most complete expression of himself so far. It's not self-titled as a branding move. It's self-titled because it sounds like who he is now.We also talk in depth about collaboration, how Matthew brought in trusted co-producers Josh Johnson and Eric Doob, and how their presence helped him let go of control in a healthy way. That thread runs through the whole conversation: surrounding yourself with people you trust, writing with specific musicians in mind, and allowing the music to become a real conversation. We get into the sound of the record too, its grounding rhythm section, the feel of tracks like “Take Heart”, and the way so much of the album was captured live in the room over just a few days.One of my favorite parts of this conversation is hearing Matthew talk about influence, producing, and teaching. We talk about working with heroes like Jeff Parker and Terri Lyne Carrington, producing the beautiful Doc Watson tribute project, and what it's like to return to Berklee now as a faculty member after being deeply shaped by that school as a student. We also get into the pressures younger musicians face now, especially around social media and self-promotion—and Matthew offers a really grounded perspective on what it means to use that time instead to build actual musicianship.This is a thoughtful conversation about sound, feel, growth, and what it means to become more fully yourself as an artist.Key TakeawaysA self-titled album can be a personal statement — for Matthew, this record reflects the clearest version of who he is right now.Life changes can deepen artistic identity — moving, teaching, heartbreak, and rebuilding all shaped this music.Trusting collaborators can open the music up — working with Josh Johnson and Eric Doob helped Matthew let go of some control and go deeper.Sound and feel are at the center of everything — even simple musical ideas come alive when the players are deeply connected.Producing is about meeting artists where they are — Matthew's work on the Doc Watson tribute shows how great producers guide without forcing.Community is one of music school's greatest gifts — the relationships built there often matter as much as the training itself.Young musicians face new pressures — Matthew is thoughtful about how social media can compete with the slower work of building real craft.Music from the EpisodeTake Heart - Matthew Stevens (ft. Joel Ross)Who Does She Hope to Be - Matthew Stevens (ft. Terri Lynne Carrington & Jeff Parker)Hazy -Matthew Stevens (ft. Josh Johnson)Alberta - Matthew Stevens (ft. Anna B Savage & Josh Johnson)About the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

About the EpisodeOn this episode of The Bandwich Tapes, I sit down with singer and songwriter Aubrie Sellers for a conversation about her remarkable new album Attachment Theory, and the deeper creative world she built around it. I had already been listening to the record ahead of our talk, and what struck me immediately was how singular it feels: cinematic, emotionally sharp, and sonically timeless in a way that somehow feels both old and futuristic at once.We talk about how Attachment Theory became a true concept record. Aubrie explains that she did not start with a concept and then write toward it. Instead, the songs gradually revealed a shared emotional center, all circling relationship patterns, vulnerability, and the psychology of connection. That realization eventually led to one of the most interesting parts of the project: a companion podcast, with one episode tied to each song, exploring attachment theory and relationship dynamics in a more direct and concrete way.One of my favorite parts of this conversation is hearing Aubrie talk honestly about performance anxiety, introversion, and learning how to shape a music career around who she actually is as a person. She shares how severe stage fright marked her early touring years, how working on her general anxiety changed things more than simple repetition ever did, and how she has become more intentional about saying yes only to the kinds of opportunities that actually fit her life and temperament.We also dig into the sound of the record, her longtime collaboration with Ethan Ballinger, the atmospheric textures and vocal treatments, the  influence that shows up in places, and why the album feels so cinematic. Aubrie talks about the value of leaving room for experimentation in the studio, letting musicians bring their own voice into the process, and making something polished without sanding off all the soul.Along the way, we also talk about Nashville, bluegrass, rawness in music, social media, and the freedom that comes from creating on your own terms. This is a thoughtful conversation about identity, vulnerability, artistry, and building a creative life that feels honest.Key TakeawaysAttachment Theory grew into a concept record naturally — the songs revealed a shared emotional thread before the full concept came into focus.The companion podcast adds another layer — each episode expands on the emotional themes of a song through relationship psychology and personal reflection.Introversion and artistry can coexist — Aubrie has worked to build a career structure that actually fits who she is.Performance anxiety does not always disappear on its own — mindset and emotional work can matter as much as experience.A polished record can still feel raw — the goal is clarity and atmosphere without losing soul or imperfection.Social media can be used with intention — Aubrie has found ways to connect authentically without treating it as empty content churn.Honesty is the through line — whether it is country, bluegrass, rock, or something in between, the music that moves her comes from a real place.Music from the EpisodeSubatomic - Aubrie SellersTrigger Happy - Aubrie SellersDelusional - Aubrie SellersLittle Rooms - Aubrie SellersAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the stories, influences, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

About the EpisodeOn this episode of The Bandwich Tapes, I sit down with keyboardist, arranger, bandleader, and all-around musical Swiss Army knife Jeff Babko. Jeff is one of those musicians whose career quietly spans an incredible range of musical worlds, from television and touring to studio work and bandleading, and our conversation ends up feeling like a masterclass in how to build a life in music while staying curious and grounded.We start in the present, where Jeff has recently stepped into a larger leadership role on Jimmy Kimmel Live! following the passing of longtime music director Cleto Escobedo. Jeff reflects on what that responsibility means to him and how leading a band in that environment requires both musical preparation and a deep sense of trust and respect for the musicians around you.From there we rewind to an important musical turning point. Jeff tells the story of seeing James Taylor live in college, backed by a band that included Don Grolnick, Jimmy Johnson, Mike Landau, and Carlos Vega. For Jeff, that moment crystallized what “grown-up musicianship” could look like—players serving the music with taste, humility, and deep craft.We also talk about Jeff's time at the University of Miami's Frost School of Music and the lifelong community that came out of those years. That theme of musical community carries into his long-running collaboration with Steve Martin and Martin Short, where Jeff has learned firsthand how musical timing and comedic timing often work the same way. Playing for comedians, it turns out, requires the same instincts as great improvisation.Toward the end of the conversation, we zoom out to bigger questions: legacy, awards, AI, and what actually lasts in a musical life. Jeff shares a perspective I really love: the most meaningful musical moments often aren't the ones captured online. They're the warm-up before a taping, the look between bandmates, or the feeling of someone in the audience connecting with the music in real time.Key TakeawaysVersatility is a career advantage — Jeff's work spans television, touring, arranging, and bandleading.Leadership grows from trust and preparation — especially in environments like Jimmy Kimmel Live!.Seeing great musicians early can shape a path — Jeff's experience watching James Taylor's band left a lasting impression.Musical communities matter — relationships formed in school and early careers often last decades.Comedy and music share timing instincts — playing for comedians requires the same listening and responsiveness as improvisation.Humility sustains a career — serving the music and the band keeps the work meaningful.The most powerful musical moments are human ones — often unseen and impossible to capture online.Music from the EpisodeHead Trauma - Mondo Trio (Jeff Babko, Jeff Coffin, & Vinnie Colauita)International Client - Jeff BabkoFranklin - Jeff BabkoNostalgia is For Suckas - Jeff BabkoAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer and songwriter Tenille Townes for a conversation about truth, freedom, and the long road back to yourself. I've admired Tenille's writing and singing for a long time, and one of the first things I tell her in this conversation is simple: when she sings, I believe her. That kind of authenticity sits at the center of everything we talk about.We spend a lot of time on her new independent album and what it means to release music on her own terms. Tenille shares how the record began in a deeply personal way—just her, a guitar, and a room at home, trying to find the truth in the songs again after stepping away from the major label system. What started as demos turned into the record itself, and in that process she found something bigger than a new batch of songs. She found her voice again.One of the most powerful parts of this conversation is our discussion of “Enabling,” a song that speaks directly to love, boundaries, self-abandonment, and the complicated emotional patterns we carry through relationships. Tenille talks about writing it after a real-life moment that forced her to look honestly at her own habits—especially the way people-pleasing can blur into losing yourself. It's one of those songs that says something difficult with incredible clarity.We also talk about what independence has given her creatively. Tenille describes this season as a return to the fearless spirit she had when she first moved to Nashville—a feeling of having everything to prove, nothing to lose, and joy at the center of the process. That freedom shows up not only in the songs, but in the way she's choosing to release and share the record now.Along the way, we get into her early love of music, the voices and records that shaped her, growing up in the wide-open landscape of Grande Prairie, Alberta, the courage it took to send a CD to Bryan Adams and ask him to sing on a song, and the incredible heart behind her long-running Big Hearts for Big Kids fundraiser. This is a conversation about songwriting, healing, home, and having the nerve to leap when something matters.Key TakeawaysAuthenticity is everything — when Tenille sings, the emotional truth of the song comes through immediately.Independence can bring creative freedom — releasing this record on her own terms helped her reconnect with her artistic instincts.Sometimes the demo is the record — simple guitar-and-vocal recordings became the emotional core of this project.“Enabling” is about more than one relationship — it also reflects patterns of self-abandonment and people-pleasing.Home shapes the writing — the open skies and emotional landscape of northern Alberta remain part of her creative fingerprint.Taking the shot matters — whether calling a promoter at age 10 or mailing a CD to Bryan Adams, Tenille keeps acting on bold instincts.Music can be a force for real change — her Big Hearts for Big Kids work shows how songs and community can directly support people in need.Music from the EpisodeOrdinary Love Song - Tenille TownesEnabling - Tenille TownesThe Acrobat - Tenille Townes with Lori McKennaThe Thing That Wrecks You - Tenille Townes & Bryan AdamsAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the stories, influences, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with guitarist and composer Bob Lanzetti, best known as one of the founding members of Snarky Puppy. I've admired Bob's playing for a long time, so getting the chance to talk with him felt especially meaningful. We begin with something many musicians quietly carry with them: the fear of hand issues and how that concern evolves over the course of a career. Bob reflects honestly on how he thinks about it now compared to earlier years.From there, we rewind to the beginning—growing up around his dad's guitar, discovering The Beatles, and the simple invitation that changed everything: “Learn this song and you can sit in with my band.” That moment set Bob firmly on the path toward becoming a guitarist. He traces his journey through early mentors, jazz studies, and eventually to the University of North Texas, where he found a musical community that would change his life—and where Snarky Puppy first came together.We spend time talking about the musical ecosystem around North Texas as well, especially the gospel and R&B scenes that shaped Bob's ear in ways the classroom couldn't. Bob shares how Snarky Puppy actually learns and rehearses music—often through oral tradition, demos, and Logic sessions—and how the band's three-guitar setup works without stepping on each other's sonic space. Along the way, he reflects on something younger musicians often overlook: the importance of restraint, listening, and self-balancing within a band.One of my favorite parts of the conversation centers on Bob's Nosferatu project, where he composed and performed an original score for the classic silent film during the COVID years. That project opened the door to exploring 20th-century classical textures, string writing, layered guitars, and production techniques. We wrap up by talking about the wide range of influences that shape Bob's music—from Charlie Christian and Jim Hall to Sonic Youth and Derek Bailey—and what's ahead in 2026, including GroundUP Festival, touring with Snarky Puppy alongside the Metropole Orchestra, his trio work, and the growing role of producing in his creative life.Key TakeawaysMusicians confront physical concerns over time — long careers require resilience and perspective.Early invitations can shape a life path — a simple opportunity to sit in with a band set Bob on the guitar journey.Community matters — the University of North Texas and the surrounding Dallas scene were foundational for Snarky Puppy.Listening and restraint define great band playing — especially in complex ensemble settings like a three-guitar lineup.Musical learning often happens by ear — oral tradition and demos play a huge role in how bands develop material.Creative side projects expand the palette — Bob's Nosferatu score opened the door to new textures and production ideas.Producing can become another creative outlet — shaping the sound of recordings scratches the same itch as performing.Music from the EpisodeB - Bob LanzettiAnonymous - Bob LanzettiThe Seven Deadly Sins (from Nosferatu) - Bob LanzettiJenny is a Donkey - Bob LanzettiAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with guitarist and composer Stash Wyslouch for a conversation that moves easily between music, teaching, parenthood, and the deeper question of how artists actually learn. Stash has built a unique musical voice that draws from bluegrass, jazz, metal, and avant-garde traditions, and hearing how those influences intersect in his life and work makes for a fascinating conversation.We begin with a big life moment: Stash recently welcomed a newborn into the world. He reflects on how becoming a parent shifts perspective—not just personally, but creatively. Themes like humility, empathy, patience, and time suddenly carry new weight, and those ideas show up in how he approaches collaboration, teaching, and the creative process itself.From there, we trace his musical path—from early experiences in heavy metal to discovering bluegrass, jazz, and experimental music. Growing up in New England, studying at Berklee College of Music, and being part of a tight-knit musical community all helped shape his artistic voice. We also talk about the complicated role of labels like “avant-garde”—how they can be useful shorthand while also limiting how audiences hear the music.We spend real time on influences—Charles Ives, Arnold Schoenberg, Lennie Tristano, and Anthony Braxton—and how ideas from those composers intersect with improvisation, ear training, and creative freedom. And finally, Stash shares details about his upcoming duo record Matty and Debbie with drummer Sean Trischka, a project that pulls together bluegrass, jazz, metal, hymnody, and pure curiosity into one cohesive musical statement.Key TakeawaysParenthood reshapes perspective — becoming a parent can influence creativity, collaboration, and priorities.Musical identity can span genres — Stash's work draws from metal, bluegrass, jazz, and experimental music.Labels can both help and hinder — terms like “avant-garde” describe music but can also narrow how people hear it.Community shapes artists — New England roots and Berklee connections helped shape Stash's musical path.Learning the process matters more than chasing results — growth comes from patience and curiosity.Rhythm and feel take time — some musical skills simply can't be rushed.Creative projects thrive on curiosity — his upcoming duo record with Sean Trischka explores multiple traditions at once.Music from the EpisodeAcoustic Metal Party - Stash WyslouchStash's Turkey in the Straw - Stash WyslouchOver in the Gloryland - Stash WyslouchAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with pedal steel guitarist Travis Toy for a wide-ranging conversation about craft, longevity, and what it really takes to build a career on the road. Travis has spent decades shaping the sound of modern country music—from his long run with Rascal Flatts to his current role touring with Luke Bryan—and his perspective comes from thousands of nights onstage.We start by tracing his musical roots in Kentucky, where Travis grew up surrounded by music and developed an early obsession with the pedal steel guitar. Those early years of practice and curiosity laid the foundation for the disciplined approach he still brings to every gig today.From there, we talk about the realities of the Nashville scene: arriving in town, finding opportunities, and slowly building a reputation that leads to bigger stages and long-term touring gigs. Travis shares stories from his early days in Nashville and reflects on what it meant to spend years touring with Rascal Flatts before stepping into a new chapter with Luke Bryan.We also dig into his solo instrumental record and why writing original music was important to him. Along the way, Travis talks about how his background as a drummer and his love of fusion music still influence his phrasing and groove on pedal steel. It's a thoughtful look at touring culture, social media, and the mindset required to stay grounded in a career that lives on the road.Key TakeawaysMastery starts early — Travis's obsessive practice as a young musician shaped the discipline he brings to every gig.Pedal steel continues to evolve — modern players are expanding the instrument beyond traditional roles.Reputation matters in Nashville — professionalism and reliability open doors to long-term touring work.Touring is a long game — sustaining a career on the road requires balance, perspective, and resilience.Musical influences cross genres — Travis's background as a drummer and fusion fan shapes his approach to steel guitar.Writing original music can deepen your voice — his solo record gave him space to explore the instrument in new ways.Longevity comes from staying grounded — focusing on the music and the people around it keeps the career moving forward.Music from the EpisodeEntry Point (Travis Toy)JDT (Travis Toy)Wingman (Travis Toy)Alabama Jubilee (Travis Toy)Hot Button (Travis Toy)About the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the stories, influences, and experiences that shape a life in music.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with bassist Chris Tordini for a thoughtful conversation about what it really looks like to build a sustainable life in music. Chris has quietly become one of the most respected bassists on the scene, known for his deep musicality, versatility, and the kind of collaborative spirit that keeps musicians coming back to work with him.We talk about his current role holding down a full-time Broadway chair with Hadestown, and how that kind of musical stability fits into a career that has largely been built around creative projects and collaboration. Chris shares what it's like stepping into that world—where consistency, preparation, and reliability are everything—and how it contrasts with the improvisational spaces he often inhabits as a jazz and creative musician.Along the way, we trace Chris's musical path—from early choir singing and piano lessons to discovering both electric and upright bass. His story is a great reminder that a meaningful career in music isn't always about chasing the spotlight. Often it's about serving the music, supporting the composer's vision, and learning to leave ego at the door.We also spend time talking about Chris's long-standing musical partnership with Becca Stevens. Their collaboration spans many years and projects, and hearing Chris reflect on how that band identity developed—through trust, chemistry, discipline, and shared musical values—is one of the most rewarding parts of this conversation.Key TakeawaysA sustainable music career often balances art and stability — work like Broadway can provide a foundation for creative projects.Serving the music matters more than serving the ego — great collaborators listen first.Versatility is essential — Chris's path from choir and piano to electric and upright bass shaped a wide-ranging career.Preparation and reliability keep musicians working — professionalism is as important as talent.Long-term collaborations deepen the music — partnerships like Chris's work with Becca Stevens grow stronger over time.Consistency builds reputation — careers are often built quietly through trust and dependability.Listening is the bassist's superpower — great bass playing starts with supporting the musical moment.Music from the EpisodeImperfect Animals (Becca Stevens)The Surge (Angelika Niescier)Transient Beings (Sebastiane Noelle)Attention Flaws (Chris Speed Trio)About the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with guitarist and composer Mark Lettieri for a conversation that lives right at the intersection of groove, discipline, and musical curiosity. Mark has spent years carving out a distinctive voice on the guitar—whether through his solo work, his baritone guitar explorations, or his playing with Snarky Puppy and Fearless Flyers—and this conversation is a window into how that voice developed.We talk about what has been a particularly full year for Mark: touring internationally, playing iconic rooms like the Blue Note, and balancing the demands of the road with the rare gift of time at home. For Mark, staying active isn't just part of the job—it's a creative engine. The more he plays, the more ideas emerge.One of my favorite parts of our conversation centers on restraint—the idea that what you don't play can matter just as much as what you do. Mark reflects on the records he grew up listening to, where the entire band worked together to shape a moment, and how those lessons show up when he's on stage or in the studio with world-class musicians.We also get into the nuts and bolts of being a working musician today: communication in the studio, professionalism on the gig, showing up prepared, and reading the room. Along the way, Mark shares stories about his early career in advertising and PR, a surprising David Crosby connection that introduced him to open tunings straight from the source, and what's ahead—including a fascinating upcoming project with sitarist Purbhayan Chatterjee, new baritone-driven material, and the continuing musical adventures that connect his solo work, Snarky Puppy, and Fearless Flyers.Key TakeawaysRestraint is musical power — sometimes the most impactful choice is knowing when not to play.Groove starts with listening — the pocket comes from how musicians respond to one another in real time.Professionalism matters — showing up early, prepared, and ready to collaborate keeps you in demand.Baritone guitar as a voice — Mark has helped expand the instrument's role beyond heavy music into funk and groove-based contexts.Creative momentum comes from staying active — touring, writing, and performing feed the creative cycle.Musical identity evolves — Mark's journey reflects influences from rock, funk, jazz, and beyond.Collaboration drives discovery — projects like his upcoming work with sitarist Purbhayan Chatterjee push his sound into new territory.Music from the EpisodeMagnetar (Mark Lettieri - feat. Adam Deitch & Shaun Martin)Gigantactis (Mark Lettieri Group with the WDR Big Band)Voyager One (Mark Lettieri - feat. Nate Smith & Bobby Sparks II)Blue Straggler (Mark Lettieri - feat. Travis Toy) About the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the stories, influences, and moments that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Grace Humphries, and we talk about what it feels like to be at the very beginning of an artist's journey—while already carrying real life, real grief, and a clear sense of purpose into the music.Grace shares what it's been like arriving at Belmont University as a spring admit, stepping into music school life for the first time and suddenly being surrounded by people who truly understand the creative path she's on. For the first time, she's in an environment where songwriting, performing, and artistic ambition feel normal—and that shift has been energizing.We also trace her musical origin story. Grace has been singing since childhood, gradually teaching herself piano and guitar while learning how to shape songs with intention. Along the way, we talk honestly about the profound impact of losing her brother Liam, and how that experience reshaped her worldview, her faith, and ultimately the emotional center of her songwriting.There have also been some remarkable moments along the way. At just 16 years old, Grace recorded at Abbey Road Studios, an experience that helped solidify her commitment to pursuing music seriously. Since then, she's spent time searching for the right creative collaborators and has now begun recording new material at Soundstage Studios in Nashville alongside top-tier session musicians.We also talk about the craft of songwriting itself—learning to balance authenticity with the realities of the modern music industry. Grace reflects on how her faith influences her work without forcing it into a single genre category, and why she's focused on staying grounded in the music even as the industry continues to evolve. By the end of our conversation, it's clear she's an artist with both talent and a strong sense of identity about the path she wants to follow.Key TakeawaysWhat it's like entering Belmont University as a spring admit and finding a creative community.Grace Humphries's early musical beginnings—teaching herself piano and guitar while learning to write songs.How the loss of her brother Liam shaped her perspective, faith, and songwriting voice.The surreal experience of recording at Abbey Road Studios at age 16.Finding the right producer and beginning new recordings at Soundstage Studios in Nashville.How Grace balances authentic songwriting with commercial awareness.Why she remains focused on the work despite the rapidly shifting music industry.Music from the EpisodeWhy'd You Give Up — Grace HumphriesFor Years — Grace HumphriesAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Larry Goldings—keyboardist, organist, composer, and one of the most respected musical collaborators working today. Larry has built a career that stretches across jazz, pop, film, television, and session work, but what really stands out in our conversation is his deep commitment to serving the music first.We start by talking about some of the projects currently on his plate. From a new recording with his organ trio featuring Peter Bernstein and Bill Stewart, to an unexpected and joyful children's album with tap-dance legend Melinda Sullivan, Larry's creative world is constantly expanding. Whether it's instrumental jazz, singer collaborations, or more experimental projects, his curiosity keeps pushing him into new musical spaces.A major part of the conversation centers on his long-running role in James Taylor's band. Larry shares how he first connected with James in the early 2000s and what it takes to serve those songs night after night at the highest level. Playing alongside musicians like Steve Gadd, he reflects on what he's learned about feel, restraint, and the kind of deep musical trust that makes a rhythm section truly work.From there we head down the rabbit hole into Scary Goldings and Scary Pockets, the groove-driven projects that have introduced Larry to a whole new generation of listeners online. He talks about how those sessions began, why the format encourages spontaneity, and how collaboration and curiosity remain the driving forces behind the music.For the gearheads and music nerds—myself included—we also revisit a memorable moment from the Michael Brecker “Time Is of the Essence” sessions. Larry recalls the experience of playing alongside Elvin Jones, navigating the nerves of the session, and the unforgettable moment when the music suddenly locked into place.Along the way, we also get into the craft of organ playing itself—especially Larry's approach to left-hand bass, and why bass players have influenced his musical language just as much as other organists. At the end of the day, everything comes back to the same principle: serve the feel, serve the song.Key TakeawaysLarry Goldings's current creative projects, including a new organ trio record with Peter Bernstein and Bill Stewart.The unexpected collaboration with tap-dance legend Melinda Sullivan on a children's album.How Larry joined James Taylor's band and what he's learned from years on that stage.The musical philosophy of rhythm sections built on feel, restraint, and trust, especially alongside Steve Gadd.The origins of Scary Goldings and Scary Pockets and how those sessions reached a global audience online.A behind-the-scenes story from the Michael Brecker “Time Is of the Essence” recording sessions with Elvin Jones.Why Larry's organ language is shaped as much by bass players as by other keyboardists.Music from the EpisodeThe Shakes — Scary PocketsTimeline — Michael BreckerSolid Jack — The Larry Goldings TrioDisco Pills — Scary PocketsArc of the Pendulum — Michael BreckerAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Jake & Shelby, a Nashville-based songwriting duo whose music is built on a natural chemistry that you can hear immediately. Our conversation feels a lot like their songs—honest, relaxed, and rooted in the process of figuring things out together.We start in the middle of a Nashville winter storm in early 2026, when power outages and unexpected downtime forced them to slow down—and unexpectedly reignited their songwriting spark. From there, we rewind to how the two of them first met through Jake's dad's music school, and the wide range of artists that shaped their musical instincts along the way, including Taylor Swift, Carrie Underwood, Lizzy McAlpine, John Mayer, Stevie Ray Vaughan, The Cars, and Madison Cunningham.One of my favorite parts of the conversation is hearing how their duet sound developed naturally rather than by design. They didn't study classic duos or try to replicate an established formula. Instead, their voices gradually found each other. Jake talks about how he essentially learned harmony from Shelby, and how their blend now feels like one shared musical voice—two distinct tones moving with the same phrasing and instinct.We also talk about some of the surreal early moments in their career, including the sudden attention that came when Michael Bublé and Kim Kardashian shared their music, amplifying their audience almost overnight. That early exposure opened doors, but it also led them to the next stage of their work: moving beyond the stripped-down Just Us era and into a fully produced debut album recorded across Nashville and Los Angeles.Along the way, they share how songs typically come together—often starting with a guitar idea, building melody, and shaping lyrics in shared phone notes. Collaboration, for them, means letting the song win when disagreements come up. By the end of the conversation, it's clear they've already built a massive catalog—nearly 100 finished songs—and they're still very much at the beginning of their story.Key TakeawaysHow Jake & Shelby's musical partnership began through Jake's dad's music school.The wide range of influences shaping their sound, from Taylor Swift and Lizzy McAlpine to Stevie Ray Vaughan and The Cars.Why their vocal harmony developed organically rather than by modeling classic duos.The surprising early boost when Michael Bublé and Kim Kardashian shared their music online.The shift from their stripped-down Just Us era into a full-band debut album.How songs often start with guitar ideas, shared phone notes, and collaborative lyric writing.Why their rule during disagreements is simple: let the song win.Music from the EpisodeLoophole — Jake & ShelbyYou Don't Know — Jake & ShelbyShut Up and Kiss Me — Jake & ShelbyFalling Out of Love — Jake & ShelbyMorning Light — Jake & ShelbyAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with guitarist, singer, and songwriter Trey Hensley, and it's a conversation I've been looking forward to for a long time. Trey has built a reputation as one of the most electrifying acoustic guitar players around, and we talk about the moment he finds himself in now—stepping back into a solo role after a decade performing as part of a duo. He's candid about what that transition felt like at first and how embracing that shift has opened the door to new creative possibilities.A big part of our conversation centers on feel and energy in recordings. Trey and I dig into why so many of the records we love breathe and move in ways that feel alive—often recorded without a click track—and why some of that electricity can disappear when studio perfection becomes the goal. It's a thoughtful discussion about spontaneity, musical trust, and the value of leaving room for human feel.We also talk about his upcoming album Can't Outrun the Blues, releasing March 6. The record leans heavily into an acoustic-forward sound, with most of the performances captured live in the room and minimal overdubs. Trey shares how the project came together, the importance of strong songs at the center of it all, and the collaborators who helped bring the music to life.Then we look ahead to another exciting chapter: a new electric, country-leaning project with guitarist Brian Sutton. Trey talks about what it feels like to plug in again after years of acoustic focus, the mix of intimidation and inspiration that comes from playing alongside someone like Brian, and how his time on electric guitar has quietly shaped the way he approaches the acoustic instrument.Along the way, we also get into the realities of modern musicianship—social media and the pressure to produce “content,” stage sound challenges like wedges versus in-ears, bluegrass timing tendencies, and the ongoing challenge of simply hearing yourself onstage. It's a conversation about music, but also about identity, growth, and trusting your instincts as an artist.Key TakeawaysWhat it's like for Trey Hensley to return to a solo role after a decade performing in a duo.Why many of the most beloved recordings breathe without a click track.The philosophy behind recording Can't Outrun the Blues mostly live in the room.How focusing on songs first shaped the direction of the new record.The creative spark—and challenge—of working with Brian Sutton on a more electric project.How playing electric guitar has influenced Trey's acoustic phrasing and tone.Real-world musician topics: social media pressure, stage monitoring (wedges vs. in-ears), and bluegrass timing tendencies.Music from the EpisodeCan't Outrun the Blues — Trey HensleyOne White Line at a Time — Trey HensleyTucson — Trey HensleyAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with pianist, composer, improviser, label founder, and educator Kris Davis—one of the most forward-thinking voices in creative music today. Our conversation left me feeling genuinely energized. Kris approaches music with a rare combination of curiosity, discipline, and fearless experimentation, and it was a joy to dig into how all of that shows up in her work.We start with what's immediately ahead for her: a trip to Hamburg to premiere a newly expanded big band version of a trio piece with the NDR Big Band. Kris shares the very real “composer panic” that comes with catching an engraving mistake right before rehearsal—one of those behind-the-scenes realities of composing that every musician can relate to.From there, we talk about festivals—especially Big Ears, which feels like its own musical universe—and dive into two major pillars of her work: prepared piano and large-form composition. Kris reflects on studying with pianist Benoît Delbecq, whose approach to prepared piano emphasized rhythm, individuality, and finding a personal sonic vocabulary.One of the highlights of our conversation is a deep look at her remarkable Solastalgia Suite, written for the Lutosławski Quartet after a commission through Poland's Jazz to Pad Festival. Kris talks about learning how to write for strings in real time and how the concept of **solastalgia—the grief you feel for your home while you're still living in it—**became the emotional core of the piece.We also zoom out into the bigger picture of her work: her leadership role alongside Terri Lyne Carrington at Berklee's Institute of Jazz and Gender Justice, and her decade-long journey building Pyroclastic Records, a label dedicated to supporting adventurous music and the artists creating it. At its heart, this conversation is about craft, community, curiosity, and the importance of taking creative risks on purpose.Key TakeawaysThe behind-the-scenes realities of composing for large ensembles—including last-minute engraving panic before a premiere.Why festivals like Big Ears create a unique ecosystem for creative music.How studying with Benoît Delbecq shaped Kris Davis's approach to prepared piano.The creative challenge of writing for string quartet for the first time.The emotional meaning of solastalgia and how it shaped the Solastalgia Suite.Kris's work at Berklee's Institute of Jazz and Gender Justice alongside Terri Lyne Carrington.How Pyroclastic Records has grown into an important platform for adventurous and forward-thinking music.Music from the EpisodeDiatom Ribbons — Kris DavisInterlude (from the Solastalgia Suite) — Kris DavisLife on Venus (from the Solastalgia Suite) — Kris DavisRun the Gauntlet — Kris DavisAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer, songwriter, and multi-instrumentalist Sarah Jarosz at a remarkable moment in her career, fresh off multiple Grammy wins, including recent recognition with I'm With Her. We talk about what it actually feels like to experience that kind of validation after years of nominations, and why the support she receives from her hometown of Wimberley, Texas, still means so much, especially with music that reflects on family, time, and staying connected to where you come from.Sarah shares how I'm With Her, her trio with Aoife O'Donovan and Sara Watkins, became a creative counterbalance to the pressures of solo work. What stands out is how naturally the collaboration works: three distinct musical voices, no ego battles, and an instinctive approach to arranging harmonies and deciding who carries each musical moment. It's a reminder of how powerful true musical trust can be.We also explore how her perspective on collaboration has evolved over the years. Early in her career, Sarah felt a strong need to protect her artistic voice. But as she gained experience, she realized that once you truly understand what you bring to the table, collaboration becomes less risky and far more rewarding.One of my favorite parts of the conversation is a deep dive into the next generation of acoustic musicians, artists with deep bluegrass roots who aren't confined by genre boundaries. Sarah traces that lineage through musicians like Chris Thile, Punch Brothers, David Grisman, Mike Marshall, Béla Fleck, and Edgar Meyer, framing today's scene not as a sudden movement but as a continuation of a long and evolving acoustic tradition.We also nerd out about her time at the New England Conservatory, why she chose it over Berklee, and how her early Kodály training gave her a powerful foundation in ear training and musical intuition. We wrap by talking about what's next: an upcoming I'm With Her live album, summer touring, and a rare pause in her solo career as she finds herself between record contracts for the first time. In a music industry constantly shifting, from streaming economics to AI, the grounded takeaway is simple: the real thing still matters, and people continue to show up for honest music played by real humans.Key TakeawaysWhat it actually feels like to win Grammys after years of nominations.Why Sarah Jarosz still feels deeply connected to her hometown of Wimberley, Texas.How I'm With Her works creatively—three voices collaborating without ego.Why collaboration becomes easier once artists understand their own musical identity.The lineage of modern acoustic music through artists like Chris Thile, David Grisman, Béla Fleck, Edgar Meyer, and Mike Marshall.How Kodály training and ear development shaped Sarah's musicianship early on.Why the “real thing”—human voices and acoustic instruments—still resonates in a rapidly changing music industry.Music from the EpisodeJealous Moon — Sarah JaroszWhen the Lights Go Out — Sarah JaroszRunaway Train — Sarah JaroszAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with drummer and composer Beth Goodfellow, a musician whose touch, curiosity, and musical sensitivity have made her a sought-after collaborator across genres.We begin with her long musical relationship with Iron & Wine, and how working with Sam Beam has shaped the way she thinks about rhythm and ensemble playing. Beth shares how Sam's drummer-minded approach to guitar creates a uniquely interactive musical space, and why that dynamic has been such a natural fit for her instincts as a drummer.We also talk about Beth's recent move from Los Angeles to Tucson, Arizona, a shift that has reinvigorated her creative life. After spending nearly 350 of 500 days on the road, she made the intentional decision to lower her overhead, slow down, and build space for new creative work. Tucson's vibrant music community—connected to artists like Calexico and Giant Sand—has quickly become a new source of inspiration.One of the most fascinating parts of our conversation is Beth's marimba looping project. What began as a pandemic experiment—exploring Steve Reich–inspired patterns she could sing over—has grown into a fully realized live performance concept. She explains her intentionally simple setup (two SM57s and a Boss looper) and how she's now expanding the music into a band context.Along the way, we explore her journey through trad jazz gigs in Northern California, classical percussion studies at San Jose State, touring with the Air Force National Guard Band, restaurant gigs that taught her the art of playing softly, and recording live with pianist Matt Rollings at Valentine Studios. It's a conversation about nuance, groove, mentorship, loss, and the importance of carving out time and space to build something of your own.Key TakeawaysWhy Beth Goodfellow's musical chemistry with Iron & Wine works so naturallyHow moving from Los Angeles to Tucson reshaped her creative lifeThe story behind her marimba looping project and minimalist gear setupLessons learned from early trad jazz gigs and restaurant performancesRecording live in the room with Matt Rollings at Valentine StudiosWhat it means to step fully into your own artistic lane after years as a collaboratorPeople MentionedBeth GoodfellowSam Beam (Iron & Wine)Matt RollingsSteve ReichArtists connected to CalexicoArtists connected to Giant SandMusic from the Episode:Reconnecting the Disconnect (Beth Goodfellow)Shut Up Moon (Part 2) (Beth Goodfellow)Travellers Prayer (Beth Goodfellow)San Joaquin (Beth Goodfellow)Groove with a View (Matt Rollings)About the PodcastThe Bandwich Tapes explores the craft of music through thoughtful conversations with the artists who make it. Each episode dives into creative process, collaboration, touring life, and the stories behind the music.Connect with the ShowIf you have questions, feedback, or ideas for future guests, feel free to reach out:

In this episode, I sit down with Taylor Eigsti, and this conversation goes everywhere I hoped it would. We talk about preparation versus spontaneity, writing music that leaves room for the present moment, and why the best ensembles feel more like carefully cast films than perfectly rehearsed machines.Taylor shares what it's been like working recently with Michael League, Ben Wendel, Kendrick Scott, Antonio Sánchez, and others, and we get deep into his compositional mindset—why quantity matters, why “bad ideas” are necessary, and how composition is a muscle that has to be exercised. We also talk about his Grammy-winning albums Tree Falls and Plot Armor, the long studio hours behind them, and why recognition doesn't always translate the way people expect.Along the way, we hit on collaboration, identity, touring life, teaching, football fandom, and what it really means to show up prepared and fully present for the moment that actually matters—the short window onstage when everything finally comes alive.Music from the Episode:Let You Bee (Taylor Eigsti)Bucket of F's (Taylor Eigsti)Look Around You (Taylor Eigsti)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

I sat down with Janie Barnett, a singer, songwriter, arranger, and educator whose career reflects a steady commitment to saying yes to what fits and no to what does not.We begin with her roots in the Greater Washington area, where summers at the Smithsonian Folklife Festival and early exposure to roots music shaped her ear. Moving to New York was a shock. The city carried a gritty, post-Patti Smith energy and felt like a long search for a new urban Americana sound. Janie found her footing through community, especially friendships with Robin Batteau and Kenny White. Session work, including jingles, gave her financial stability and the freedom to keep her songwriting honest rather than chasing a paycheck through her own music.We talk about life behind the scenes and what it taught her about leadership. Janie shares stories from sessions with Linda Ronstadt and a career highlight singing background vocals on Saturday Night Live with Rickie Lee Jones, one of her musical heroes. Being on the team shaped how she leads her own bands, creating rooms where musicians feel respected and invited to contribute.She also reflects on how becoming a parent changed her artistry. Her songs deepened, her priorities clarified, and the work stopped feeling precious in the face of real life.We spend time on her project Under My Skin, a reimagining of Cole Porter through an acoustic Americana lens. What began as a guitar idea for I've Got You Under My Skin grew into a pandemic-era collaboration with an extraordinary group of musicians, including Carmela Ramsey and Jerry Douglas, many of whom recorded from home studios. The album proves Porter's writing is timeless, and Janie's voice brings it all together.We close with her work at Berklee, where she mentors singer-songwriters and leads ensembles. She speaks candidly about the pressures of constant content and social media, and the importance of building real community and a live musical life. Looking ahead, she is planning a vinyl release of the Cole Porter project, aiming for a show around Porter's birthday in June, and working toward a new record of original songs with a clearer strategy for getting it into the world.Music from the Episode:LIfe Is Long and Then It's Not (Janie Barnett)Delaware Bridge (Janie Barnett)If You Were Here (Janie Barnett)I've Got You Under My Skin (Janie Barnett)Night and Day  (Janie Barnett with Keith Sewell)You're the Top (Janie Barnett with Catherine Russell)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

This episode is a special one for me: Steve Gadd.Steve is not just a great drummer. He is one of those rare musicians whose feel and sound are instantly recognizable. A few seconds in, and you know it's him. He has been a first-call presence on recordings and tours for decades, and somehow, he makes the most complex things feel relaxed and human. Spending time with him for this conversation was a real honor.We begin in the present. In 2026, Steve is still moving forward with curiosity and purpose. He talks about starting the year with the Love Rocks benefit in New York, touring Europe with Michael Blicher and Dan Hemmer, rehearsing and touring with Paul Simon, and heading out again with James Taylor. Later in the year, he is back with Simon Oslender and Will Lee, a project that clearly brings him joy. You can hear how much he values character, maturity, and the spirit of the bandstand.We trace the roots of his musicianship through his time in the Army Field Band during the Vietnam era. Daily chart reading sharpened his time, discipline, and mindset. It was not always fun, but it was formative. He also reflects on mentorship, from Stanley Street to John Beck, and how those teachers shaped not just his hands but his confidence and identity.Steve speaks candidly about insecurity and imposter syndrome, about how reading is a skill that fades without use, and how repetition is the real secret. No shortcuts. We also dive into sound, volume, and dynamics. He shares his thoughts on live versus studio playing, the challenges of modern stage volume, and why the best shows begin at a real level and let the music breathe.What stays with me most is his philosophy. It is not about ego. It is about service, supporting the song, making the artist comfortable, and being a good teammate. This conversation captures a legend who is still learning, still listening, and still chasing feel and sound in the purest way.Music from the Episode:I Gotta Try (Michael McDonald)On a Roll (Live) (Simon Oslender)September Grass (James Taylor)My Rival (Steely Dan)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I'm joined by Simon Oslender, and I'm not exaggerating when I say his playing lit me up the first time I heard it: pure joy, but with real depth underneath. We talk about growing up in a deeply musical home, starting on drums, and the exact “big bang” moment when a John Mayall live DVD (and Tom Canning on Hammond B3) made Simon lock in on the organ for life.We get into Simon's early recording experiments, how he writes (often away from the instrument, grabbing voice memos before ideas disappear), and his relationship with theory—especially his favorite framing: theory shouldn't tell you what to do, it should explain what you're hearing. And then we go deep on the dream-team reality of All That Matters: recording with Steve Gadd and Will Lee and how that session turned into a tour, and what it takes to keep your head straight when your heroes show up fully prepared to play your music.Music from the Episode:On a Roll (Simon Oslender)In Good Hands (Simon Oslender)Cruisin' (Simon Oslender)Quite Logical (Simon Oslender)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

I got to sit down with Alison Prestwood, an A-list bassist, singer, and bandleader whose playing has been anchoring records and stages for decades, and it felt like catching up with someone I should've known for years.We talked about her leap from Atlanta to Nashville in the early '90s, what it's like leaving steady work to chase the next chapter, and how those five-to-six-nights-a-week club years built the kind of chops and confidence that translate anywhere. Alison shares the winding path that led her into Nashville's session world (including a wild early moment overdubbing on a Ronnie Milsap master), and how hearing players like Glenn Worf and Michael Rhodes up close pushed her into that “forever climbing” mindset that great musicians live in.She also goes deep on her musical north stars: Paul McCartney, James Jamerson, Willie Weeks, Lee Sklar, and especially Carol Kaye, including an incredible story about spending a full weekend at Carol's house working on pick technique and soaking up stories and wisdom.From there, we get into the nuts and bolts: how Alison thinks about the difference between R&B feel vs. country feel, note length, subdivisions, and the “rules” you learn in Nashville, plus when to break them. She's also launching a brand-new Merle Haggard tribute band called We Are the Merle.We also talk about her time touring with Peter Frampton, how that gig came together, what it's like playing major stages (including the Rock & Roll Hall of Fame experience), and the weight and gratitude of watching a legend keep doing the work.And because Alison is also a fellow podcaster, we dig into her show “Hey, Good For You”, a funny, honest, and sharp look at life as a working bassist (and the absurd things people say to women musicians).It's part career map, part hang, part deep musicianship chat, and by the end, we basically agree this needs to be part one.Music from the Episode:Nadine (Is It You) (George Benson)Turning Waylon Down (Alison Prestwood)Austin (Blake Shelton)Beautiful Man (Alison Prestwood & Rodney Crowell)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with singer-songwriter CJ Hooper to talk about building songs—and confidence—as an independent artist without rushing the process. We dig into how moving from Texas to Washington shaped his musical perspective, and why honest, story-driven country music seems to resonate no matter where you live.CJ and I talk about releasing Over Yonder, his second album just a year after his debut, and the surprisingly self-confronting experience of hearing your own voice back in the studio. We also get into early cassette-tape influences, playing in a band with musicians decades older than him, cutting his teeth at open mics, and slowly figuring out how his original songs want to live in the world. It's a conversation about patience, craft, and letting the work grow naturally—one song at a time.Music from the Episode:Burn it Down (CJ Hooper)Lookie Over Yonder (CJ Hooper)Rain Song (CJ Hooper)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.The theme song, "Playcation", was written by Mark Mundy.

In this episode, I sit down with percussionist Colin Currie for a wide-ranging conversation about curiosity, originality, live performance, and the lifelong pursuit of musical meaning. Colin is one of the most influential percussionists of our time, known for his deep commitment to contemporary music, his close collaboration with composers, and his transformative interpretations of Steve Reich's work. This conversation explores how curiosity, patience, and listening have shaped his career and his approach to music-making.We begin by talking about technology, access to recordings, and the changing landscape of music education. Colin reflects on growing up in a time when discovering music required effort, intention, and physical presence in libraries and record shops. He shares concerns about students learning pieces by copying online performances rather than developing their own ideas, and he speaks passionately about the importance of solitude, curiosity, and learning music on one's own terms.Colin traces his musical beginnings back to early childhood, from piano lessons at age five to his first drum lesson at six, describing the joy, excitement, and physical energy that initially drew him to percussion. He talks about how that sense of wonder has never left him and why live performance remains a magical, irreplaceable experience. We explore why percussion continues to evolve so rapidly, how technique has advanced across the field, and why musical intent always matters more than virtuosity alone.A significant portion of the conversation focuses on Colin's connection to contemporary music and the composers who shaped his artistic identity. He describes hearing The Rite of Spring as a teenager, discovering post-war modernist composers through library scores, and developing an instinctive attraction to music that felt strange, challenging, and unfamiliar. Colin shares how his love for new music was never about understanding it intellectually, but about responding to it emotionally and instinctively.We also dive deeply into Colin's relationship with Steve Reich, including their first meeting, their long-standing collaboration, and the formation of the Colin Currie Group. Colin reflects on recording Music for 18 Musicians at Abbey Road Studios, explaining how the goal was to capture the intensity and emotional risk of live performance rather than create a polished studio artifact. He talks about groove, sonority, emotional depth, and why Reich's music demands both precision and expressive freedom.Colin discusses his growing role as a conductor and how stepping onto the podium has changed the way he listens, leads, and collaborates with ensembles. He shares stories from recent performances, lessons learned from orchestral musicians, and how listening remains the central skill, whether playing or conducting. We also talk about his record label, Colin Currie Records, crowdfunding new projects, and the upcoming release of a Steve Reich album featuring Sextet, Double Sextet, Six Marimbas, and Dance Patterns.As we look ahead, Colin reflects on 2026 as a landmark year, including Steve Reich's 90th birthday, dozens of performances of Reich's music worldwide, and the premiere of Colin's 40th percussion concerto. This is a thoughtful, inspiring conversation about curiosity, commitment, and the lifelong responsibility of serving music.Music from the Episode:Mallet Quartet (Steve Reich - Colin Currie Group)Music for 18 Musicians - Section VI (Steve Reich - Colin Currie Group)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with drummer Kim Trammell for an honest, wide-ranging conversation about groove, identity, longevity, and finding your way back to joy in music. Kim is an intensely musical player whose feel, touch, and sound are unmistakable, and this conversation traces her path from early classical training to decades of professional drumming in Memphis and beyond. We talk about how her background in piano and orchestral percussion shaped her approach to the drum set, why timpani was such a formative instrument for her, and how classical technique translated naturally into tone, touch, and control on the kit.Kim shares her early musical story, starting with Suzuki piano at a young age, followed by rudimental snare drum training and a strong classical percussion education at the University of Memphis. She explains how she never took formal drum set lessons, instead transferring everything she learned in orchestral percussion into real-world playing situations. We talk about the importance of sound production, the influence of Fred Hinger's timpani approach, and why understanding how to pull sound from an instrument matters more than simply hitting it.A significant chapter of the conversation centers on Kim's years playing professionally in Memphis, including formative experiences on Beale Street and a pivotal five-year house gig at a casino in Tunica, Mississippi. Kim describes playing eight hours a day across constantly changing genres, learning how to truly listen, and developing pocket by following seasoned musicians who demanded restraint, patience, and deep time feel. She reflects on how those experiences reshaped her sense of groove, taught her how to place notes behind the beat, and forever changed how she hears music.We also dive into Kim's decision to step away from full-time performing and pursue a second career as a massage therapist. She speaks candidly about burnout, the physical toll of decades of drumming, and the emotional cost of turning music into a constant source of income. Kim explains how studying body mechanics and healing work transformed her relationship to her own body and helped her rediscover music as a source of joy rather than obligation. We talk about posture, self-care, and why musicians so often neglect their bodies until something breaks.The conversation turns deeply personal as Kim and I discuss sobriety, presence, and self-forgiveness. Kim shares her long journey of choosing sobriety, recognizing unhealthy patterns, and reclaiming clarity, health, and emotional honesty. We talk about how the music industry can normalize destructive habits, why change is frightening but necessary, and how being fully present is one of the greatest gifts musicians can give themselves and others.We also explore Kim's perspective on social media, identity, and self-worth. She reflects on joining Instagram later in life, why she shares music without chasing validation, and the dangers of tying personal value to views, likes, and algorithms. Kim speaks powerfully about separating self-worth from musical ability, encouraging younger musicians to protect their mental health and remember that music is something they do, not who they are.We close by talking about groove, pocket, bass, and drum relationships, favorite drummers, Memphis's rich musical legacy, and the importance of honoring the song above all else. This is a thoughtful, vulnerable, and profoundly human conversation about music, healing, and staying connected to what matters most.Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.The theme song, "Playcation", was written by Mark Mundy.

In this episode, I sit down with percussionist, composer, and author Russell Hartenberger for a deep and reflective conversation about sound, mentorship, history, and the long arc of a musical life. Russell's influence on percussion performance, composition, and pedagogy is immeasurable, and this conversation traces the remarkable path that led him from a childhood in Oklahoma to the center of some of the most important musical movements of the twentieth and twenty-first centuries.We begin with Russell's early years studying percussion with Alan Abel in Oklahoma City and how that formative mentorship shaped his relationship to sound, mechanics, and musical discipline. Russell shares stories about studying at the Curtis Institute of Music with Fred Hinger, including the now legendary focus on sound production and timpani tone that defined his approach to every percussion instrument. We talk about why timpani study is foundational for all percussionists and how concepts of weight, touch, and resonance translate across the entire percussion family.Russell reflects on graduating from Curtis during the height of the Vietnam War and on the sudden pivot in his life when an orchestral job offer was withdrawn because of the draft. He recounts his years performing with the United States Air Force Band in Washington, D.C., describing how military band life mirrored many aspects of orchestral performance while also providing structure during a turbulent moment in American history. We discuss the impact of performing military funerals at Arlington National Cemetery, the discipline of daily rehearsals, and how that period ultimately created space for further academic and artistic exploration.A pivotal chapter of the conversation centers on Russell's graduate studies at Wesleyan University and his introduction to ethnomusicology and non-Western musical traditions. Russell describes his early studies in African Drumming, tabla, and gamelan, and how these experiences fundamentally reshaped his musical worldview. This path led directly to his introduction to Steve Reich in 1971, where Russell became involved in the creation and early performances of Drumming. He offers a rare, firsthand account of learning Reich's music by rote, rehearsing as the piece was being written, and discovering the subtle rhythmic feel that would come to define the Reich ensemble's sound.We explore the formation of Nexus and how improvisation, global instrument collections, and collaboration shaped the ensemble's identity. Russell explains how Nexus and Reich's music intersected, how percussionists became central to rhythmic interpretation, and how early Nexus performances helped introduce Reich's music to a broader percussion community. He reflects on how later generations of performers have built upon that foundation, adapting the music to new contexts while maintaining its core integrity.The conversation turns deeply personal as Russell discusses his composition Requiem for Percussion and Voices. He shares the emotional and historical influences behind the work, including military funerals, childhood memories of church bells, and the symbolic role of percussion in mourning rituals. Russell explains how the piece came together organically, how its structure revealed itself through the writing process, and how adding voices expanded the work's emotional resonance.We close by discussing Russell's current life in retirement, his ongoing writing and scholarship, and his continued engagement with the percussion community through residencies, performances, and significant publications. Russell reflects on writing about Steve Reich's performance practice, the evolution of interpretation across generations, and the importance of documenting lived musical experience. This episode is a profound meditation on sound, time, mentorship, and legacy from one of percussion's most thoughtful and influential voices.Music from the Episode:The Desert Music (Steve Reich)One Last Bar, Then Joe Can Sing (Gavin Bryars)Music for Mallet Instruments, Voices, and Organ (Steve Reich)Requiem for Percussion and Voices (Russell Hartenberger)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with mandolinist, composer, and bandleader Jacob Jolliff for a wide-ranging conversation about curiosity, discipline, and building a musical life that resists easy categorization. Jacob is one of those rare musicians who move fluently between bluegrass, jazz, classical, and experimental music without losing his voice in any of them. We begin by talking about his love of variety, why collaboration continues to drive his schedule, and how he follows genuine musical curiosity rather than a rigid career plan. Jacob reflects on touring, playing weekend runs versus more extended tours, and why he's motivated to say yes to projects while the travel still feels energizing.A significant focus of the conversation is Jacob's upcoming classical recording, a mandolin concerto explicitly written for him by composer Jesse Jones. Jacob walks through how the project came together, from a lifelong friendship that began when he was a child to a reunion nearly two decades later, after Jesse had become one of the most respected contemporary classical composers in the country. We talk about performing the concerto with an orchestra, recording the work, memorizing a demanding five-movement piece, and learning the nuanced skills required to follow a conductor while still maintaining musical agency. Jacob explains how the music successfully bridges contemporary classical language with bluegrass sensibilities without feeling like a caricature of either tradition.We also dive deep into Jacob's years at Berklee College of Music and the fertile Boston roots scene that shaped a generation of genre-bending acoustic musicians. Jacob reflects on studying with John McGann, the early days of what would later become Berklee's American Roots program, and coming up alongside players like Alex Hargreaves, Dominick Leslie, Sierra Hull, Julian Lage, Brittany Haas, and others. We talk about why conservatories embracing acoustic and roots instruments have changed the musical landscape and why this moment feels uniquely exciting for mandolin, fiddle, and banjo players.Jacob shares the origin story of his band, including how his time with Yonder Mountain String Band prepared him to lead a project of his own. We talk about the balance between being a sideman and a bandleader, why the best leaders often have deep experience in both roles, and how empathy grows when you've carried responsibility from both sides of the bandstand. Jacob walks through how his lineup evolved, why consistency eventually mattered more than flexibility, and how his current band came together organically around shared priorities and musical trust.We spend time talking about Jacob's jazz projects, including his standards recordings and the unusual instrumentation of mandolin, bass clarinet, snare drum, and bass. Jacob explains why learning jazz still feels like learning a second language, how making records can be part of the learning process rather than a final statement, and why exploring multiple genres keeps his playing honest. We also talk about his admiration for musicians who dedicate their lives to a single tradition, even as he continues to thrive as a musical generalist.We close with a thoughtful discussion about Jacob's practice routine, discipline, and mindset. He explains why he practices nearly every day, how consistency prevents stagnation, and why regularly confronting technical and musical walls is part of long-term growth. Jacob speaks candidly about the psychological challenges of being a driven musician, the tension between ambition and perspective, and why staying curious ultimately matters more than perfection. It's an honest, inspiring conversation about craft, patience, and the lifelong pursuit of musical depth.To learn more about Jacob, visit his website. Music from the Episode:Large Garbage Barge (Jacob Jolliff)Moose the Mooch (Jacob Jolliff)Sheerson Crosses the Rocky Mountains (Jacob Jolliff)The Good, The Bad, and the Home-Schooled (Jacob Jolliff)Stumbling Distance (The 376 Years) (Jacob Jolliff)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with drummer David Northrup for a deep and wide-ranging conversation about groove, longevity, and serving the song. David has built an incredible career by doing precisely that, whether he's playing traditional country, blues, soul, or roots-based music. We start by talking about his current work with Joe Nichols, why it's such a musical and personal fit, and what it means to work for an artist who values authenticity, consistency, and real country music. David shares stories from the road and explains why being a good human is just as important as being a great drummer.We spend time digging into David's early musical influences growing up in central New York, where constant exposure to Motown, singer-songwriter records, pop radio, and classic albums shaped his musical instincts. David talks about learning by listening, studying album credits, and developing a deep appreciation for feel and style long before social media or online tutorials existed. He reflects on how that environment taught him to truly listen, absorb, and respect the music rather than chase trends.David walks through his path to becoming a professional drummer, from starting in school band programs to a pivotal moment when he saw Chuck Mangione perform while in college. That experience helped him realize music was the path he needed to take seriously. We talk about the importance of mentors, including teachers who challenged him when he wasn't ready and supported him when he was, and how discipline, fundamentals, and humility played a massive role in his development.We dive deep into David's years in Nashville, including his first five years building connections, studio work, and eventually landing his long-running gig with Travis Tritt. David explains how Nashville truly is a five-year town, why patience matters, and how preparation and professionalism keep you working once you get the call. We also talk about his deep admiration for drummers like Carlos Vega, Jeff Porcaro, Steve Jordan, Russ Kunkel, and others, and why groove, taste, and feel will always matter more than flash.A significant highlight of the conversation is David's time touring with Boz Scaggs. He shares what it was like to step into such an iconic musical legacy, learn to play with conviction at very low volumes, and work alongside world-class musicians night after night. We talk about why playing the room matters, how restraint can be more complicated than power, and why those lessons apply to every drummer at every level.We also spend time talking about David's solo record Shapes, including how it came together over many years, the musicians involved, and why recording live, organic performances was central to the album's sound. David explains his philosophy of making music that's groove-focused, accessible, and enjoyable for listeners beyond just musicians. We close by discussing teaching, clinics, the importance of shuffle feel, regional time concepts, and the soft skills that help musicians not just get gigs but keep them. It's an honest, thoughtful conversation packed with wisdom for musicians and music lovers alike.To learn more about David, visit his website. Music from the Episode:All Blues (David Northrup)Smooth (David Northrup)Bayou Chicken (David Northrup)Salty Crackers (David Northrup)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with singer, songwriter, bassist, and musical innovator Scott Mulvahill for a wide-ranging conversation about curiosity, collaboration, and building creative worlds. We start by talking about Scott's recent trip to Lafayette, Louisiana, where he performed Paul Simon's Graceland in a profoundly meaningful way, including sharing the stage with original Zydeco musicians who appeared on the album. Scott explains why Graceland was such a formative record for him as a teenager, how it shaped his love of songwriting, groove, and global musical connections, and why revisiting that music continues to teach him something new every time he performs it.We talk about Scott's busy life as a touring musician and collaborator, from solo performances to regional shows, symphonic work with Cody Fry, and juggling multiple projects at once. Scott reflects on saying yes to opportunities, spinning multiple creative plates, and why he's drawn to work that keeps him challenged rather than comfortable. He shares the story behind his band Slap Dragon, how the group came together organically, and why playing in a band scratches a different creative itch than performing solo. We also explore the balance between solitude and community in music, and how collaboration continues to fuel his artistic growth.A significant part of the conversation centers on Scott's experience as a singing bassist. We dig into the technical and musical challenges of singing while playing bass, especially in groove-heavy music, and how performing complex material like Graceland forces constant growth. Scott explains how difficulty, discipline, and repetition sharpen his musicianship and why pushing himself technically ultimately leads to deeper musical freedom.We also spend time talking about Scott's years playing with Ricky Skaggs, an experience he describes as musical graduate school. Scott shares what it was like to step into a bluegrass tradition without a drum set, how time feels differently in that genre, and why it took nearly a year to feel comfortable in the band. He reflects on learning directly from masters, developing an intuitive sense of rhythm, and why that experience shaped him as a musician in lasting ways.Finally, we dive deep into one of Scott's most ambitious projects, the Database. Scott explains the origin and evolution of this custom-built upright bass with integrated MIDI triggers and sampling, how it works technically, and why it allows him to expand his sonic world without sacrificing creativity or authenticity. We talk about technology as a tool rather than a gimmick, the balance between production and performance, and how the Database has reshaped his approach to songwriting, arrangement, and live shows. It's a thoughtful, inspiring conversation about experimentation, craftsmanship, and following curiosity wherever it leads.To learn more about Scott, visit his website.Music from the Episode:Begin Againers (Scott Mulvahill)Fighting for the Wrong Side (Scott Mulvahill)Survive (Scott Mulvahill)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with Dame Evelyn Glennie to talk about what listening really means and why it matters far beyond music. We start with the origins of the Evelyn Glennie Foundation and how her work evolved organically from teaching, performing, and asking people better questions so they can hear themselves more clearly. Evelyn shares how her own experiences shaped a broader philosophy of listening that encompasses sound, the written word, and the ways we communicate through email, texts, and social media. We also dig into how technology has changed our patience and attention, and why listening belongs at the center of education, wellbeing, empathy, and community.From there, we move into the performer's mindset and Evelyn's lifelong curiosity about sound. She explains why she starts new repertoire from the inside out, how the body becomes an essential listening partner over time, and why recordings are only frozen snapshots rather than definitive answers. I ask her about formative training, the balance of learning by ear and reading music, and how her early environments built a deep listening culture that still guides her today. Evelyn offers a powerful reminder that every performance is a world premiere for someone, and that familiar instruments can become brand new when we hear them in a different context.We also go down memory lane through landmark repertoire and collaborations. Evelyn talks about discovering and recording Paul Smadbeck's Rhythm Song, revisiting it years later, and even developing a creative version for marimba and strings. She reflects on the Bartók Sonata for Two Pianos and Percussion, including the intensity of working at a young age with Sir Georg Solti and the lessons that stayed with her. We then explore her long pursuit of John Corigliano's Conjurer, how the concerto's concept came together, and what it takes to tour a major work night after night, adapting to different instruments and acoustics. Finally, we discuss her experience performing Philip Glass's Double Timpani Concerto with Jonathan Haas, the logistics behind that project, and why she loves the energy of shared soloist roles.To close, Evelyn shares what she is creating right now, including writing for television and film, new books, wide-ranging collaborations, duo projects, and continued foundation work that invites people to slow down, listen deeply, and rethink what connection feels like. This conversation is a masterclass in curiosity, artistry, and attention, and I'm grateful to share it with you.To learn more about Evelyn and the Evelyn Glennie Foundation, visit her website. Music from the Episode:Joseph Schwantner - Velocities for Solo MarimbaPaul Smadbeck - Rhythm SongBéla Bartók - Sonata for Two Pianos and PercussionJohn Corigliano - Conjurer: Concerto for Percussionist and String OrchestraThank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Episode 100 of The Bandwich Tapes marks a meaningful milestone, not just in numbers, but in intention.What began as a simple idea, having thoughtful conversations with musicians I admire, has grown into a space for deep listening, reflection, and curiosity. Reaching one hundred episodes felt like a moment to pause, look back, and express gratitude to everyone who has chosen to spend time with this show.For this milestone episode, I'm honored to share a conversation with Dame Evelyn Glennie.Dame Evelyn Glennie is one of the most influential and inspiring musicians of our time. A world-renowned percussionist, composer, and advocate for listening, her work has reshaped how many of us understand sound, awareness, and musical perception. Her artistry extends far beyond performance; it invites us to reconsider what it truly means to listen.In this conversation, we explore Evelyn's approach to listening as a full-body experience, the philosophy that guides her musical life, and the curiosity that continues to drive her work. It's a discussion about sound, silence, intention, and the responsibility that comes with being deeply attentive to music, to others, and to the world around us.Sharing this interview as episode one hundred is a privilege, and one I'll carry with me for a long time.Thank you for listening, for supporting the show, and for being part of this journey.Episode 100 drops January 19, 2026.

In this episode, I sit down with drummer, educator, speaker, and author Rich Redmond, and this conversation goes far beyond the drum set. From the moment we start talking, it's clear that Rich approaches music and life with an uncommon level of purpose, energy, and presence. We talk about why he plays every song like it might be the last one he ever gets to play, how longevity changes your perspective on time, and why being fully present matters just as much offstage as it does behind the kit. Rich reflects on nearly five decades of holding the sticks, what it means to love the work truly, and why every gig still feels like the best day of his life.We dig into Rich's background growing up in Connecticut and Texas, how Texas marching band culture shaped his musical foundation, and why music education in that state continues to produce world-class players. He shares stories from his early training, the classic method books that shaped his hands and mind, and how transcription became a survival skill when he moved to Nashville. Rich breaks down how charting, reading, and preparation quickly opened doors, why the Nashville number system is such a powerful tool, and how learning to create efficient charts can save gigs and careers.A significant focus of the conversation is Rich's belief in using all of your gifts. We talk about his work as an educator, public speaker, author, and podcast host, and how teaching reinforces your own understanding of music, communication, and purpose. Rich explains his CRASH philosophy, commitment, relationships, attitude, skill, and hunger, and how that framework shaped his life, his speaking career, and his approach to helping others succeed, whether they are musicians, students, or corporate audiences. He shares how blending drumming with storytelling keeps audiences engaged, why attention spans are shorter than ever, and how performance can make ideas stick in ways slides never will.We spend time unpacking his long-running work with Jason Aldean, including how studio and live drumming require different mindsets, how records are made efficiently at a high level, and why consistency, trust, and preparation matter more than flash. Rich explains how live drumming is about execution, confidence, and making everyone onstage feel safe, while still delivering energy to the back row. We talk about signature fills, macro rhythms, playing in food groups, and why honoring the record while amplifying the live experience is part of the job.Rich also walks through his teaching philosophy, from Drumtensives and masterclasses to clinics and one-on-one coaching. He explains why reading, time, left-foot independence, stylistic awareness, and charting are non-negotiables, and how meeting students where they are can unlock confidence and growth. We also dive into the soft skills of being a working musician, why being prepared, likable, and open to direction often matters more than chops, and how trust keeps you working long term.We close by talking about health, longevity, curiosity, and why Rich continues to challenge himself creatively through writing, speaking, podcasting, and new musical ideas. It's an inspiring, practical, and honest conversation about building a meaningful career, staying hungry, and using music as a vehicle to lift others along the way.Music from the Episode:Amarillo Sky (Jason Aldean)My Kinda Party (Jason Aldean)The Truth (Jason Aldean)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with bassist and vocalist Keith Horne, and it feels like reconnecting with a player I've admired for decades. I talk about the first time I experienced Keith live in 1996, when I was a freshman at Belmont University, and he was on the road with Peter Frampton. I still remember the impact of his touch, time, and musical confidence. From there, Keith and I dig into how his musical life started as a kid playing bluegrass with his dad, how flatpicking shaped his speed and articulation, and why being a multi-instrumentalist gave him an unusually complete view of the bandstand. We talk about his left-handed approach to playing guitar, how he learned guitar upside down, how he originally played drums left-handed, and why he eventually switched to a right-handed kit to survive the reality of shared backlines and sit-ins.Keith tells some incredible stories about chasing complex instruments, including the moment he finally found a left-handed pedal steel, how watching great steel players for years taught him the mechanics before he ever owned one, and how quickly he was able to apply that knowledge once the instrument was in front of him. We also trace the exact moment bass became his leading voice, when a bassist in his dad's band left his instrument at the house, and Keith quietly learned it without telling anyone, then shocked his dad by switching instruments mid-gig at age twelve and never looking back. That leads to a bigger conversation about why starting on drums is a superpower for a bassist, how it teaches you the unspoken communication between rhythm section players, and why Keith's time feel became one of his calling cards, including a compliment from Dennis Chambers that still stands out as one of the biggest of his life.Keith and I go deep on the singing bassist problem, how to keep vocals expressive while staying locked on bass, and how harmony singing often becomes the secret weapon that gets you the gig. He shares how his range and high harmony work opened doors, how constant performing strengthened his voice over time, and how he learned to shift between full voice and falsetto through heavy gigging and demanding material. We talk about the artists and songs that shaped his bass worldview, from Earth, Wind & Fire and Verdine White to Bernard Edwards, Stanley Clarke, Marcus Miller, Chuck Rainey, and Jaco. Keith tells the story of hearing Stanley Clarke for the first time and having his entire concept of the instrument explode overnight.A significant highlight is Keith's time in the Virginia fusion band Secrets, a band he calls the best musical situation he's ever been in. He tells the story of sitting in on Jeff Lorber's Tune 88, getting a standing ovation for a bass solo, and then immediately being offered the gig. We talk about how quickly great players elevate your musicianship, how his first night in the band was also Carter Beauford's first night, and the feeling of instant chemistry that made it seem like they'd been playing together forever. Keith also shares stories of opening for the Yellowjackets, becoming friends with Jimmy Haslip, and the surreal mirror-image moment when the band watching their soundcheck saw an upside-down bassist and an open-handed drummer and realized they were looking at a parallel-universe version of themselves.From there, we follow Keith's move to Nashville, living with the Wooten Brothers early on, playing jam nights seven nights a week, and building a reputation fast because he could authentically cover multiple genres on demand. He breaks down how his first major Nashville gig came through the Stockyard, leading to Tanya Tucker, and how the road unfolded from there with Waylon Jennings, Peter Frampton, and Trisha Yearwood, including singing Walkaway Joe with Trisha and what it's like to work with singers so accurate they can survive monitor failures in arenas without losing pitch. We also spend time on Hot Apple Pie, the magic of that record, why it still sounds fresh, and the frustration of how label shifts and industry timing kept the band from reaching the level the music deserved.We wrap with what Keith is doing now in Florida at the Orange Blossom Opry, what makes the venue unique, how the band tailors its opening set to match each headliner, and why the schedule can be intense during the season but still sustainable because the owners take care of the musicians in a rare way. It's a wide-ranging conversation about musicianship, time feel, harmony, career longevity, and the kind of stories you only get from someone who has genuinely lived on bandstands for decades.Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with drummer Paul Stewart for a conversation that starts with how music can connect people across oceans and turns into a deep dive on taste, touch, craft, and the long arc of a career. Paul and I talk about how I first discovered his band The Feeling years ago from a CD a friend handed me after a gig, and how that one listen turned into a long-term appreciation for the songs, the playing, and the production. Paul shares why so many musicians connected with that sound, and how their work pulled from both the 70s world of Supertramp, 10CC, Elton John, and Fleetwood Mac, and the deeper 60s roots that fed that era, like The Beatles, The Stones, The Kinks, and The Zombies. We get into drum sound, why that thuddy, dead 70s tone fits their music so well, and how those choices shaped the identity of the recordings.Paul walks me through his origin story, from being hooked on drum sound as a kid, to getting his first kit at 12, to saying yes to every playing opportunity he could find. He tells an incredible story about a middle school teacher who stayed late after school so Paul could get extra time in the drum room, and we zoom out on how mentors, parents, and supportive educators change the course of a life. From there, we talk about preparation, professionalism, and the responsibility you carry in an ensemble, including how the anxiety of being underprepared can be its own lesson in why doing the work matters. Paul also shares a regret he has about not keeping his reading chops sharper, and why playing along with records became his true north as a drummer.We dig into influences from both sides of Paul's musical world, from rock and early Chili Peppers and Rage Against the Machine, to the cassette tapes an uncle sent that opened the door to jazz, funk, fusion, and players like Vinnie Colaiuta, Dave Weckl, and the Tower of Power world. Paul explains how the UK acid jazz scene became a significant pull, and how an acid jazz band at music college eventually evolved into The Feeling. We also talk about what it's like working with major artists outside the band, including how touring logistics can lead to local musicians being hired, and how surreal it can be to play iconic songs with legendary voices while still remembering they're just musicians on stage doing the same job.A meaningful part of our conversation is about performance anxiety, stage fright, and the emotional extremes musicians ride before, during, and after gigs. We talk honestly about confidence, coping, and what it means to choose a healthier path, and we acknowledge that even global superstars can struggle with fear right before walking on stage. Paul and I also reflect on the approaching anniversary of The Feeling's first album, how those songs were originally recorded as a weekend friends project without any expectation of success, and how playing them now carries twenty years of growth, finesse, and perspective while still honoring the original parts that make the songs work. We close with what Paul has been up to recently, including work with Anastacia, Paul Young, The Voice UK, and the broader creative world around the band, and why music remains a powerful source of joy, balance, and hope for people everywhere.Music from the Episode:Never Be Lonely (The Feeling)Everyday and All of the Night (The Feeling)Sun Won't Shine (The Feeling)I Want You Now (The Feeling)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with percussionist Doug Perkins for a wide-ranging conversation that starts with a few personal connections and quickly opens up into a bigger discussion about music, teaching, and the kind of “improbable events” that can change a person's life. Doug and I talk about our shared link through LSU and Brett Dietz, and Doug tells the story of how he learned bass guitar in the eighth grade to get into a jazz band, which led to rehearsals at home, a punk band with Brett called The Septic Creptics, and a deep early education in groove, feel, and listening. We dig into the teachers who shaped Doug's path, especially Jack DiIanni, and why fundamentals, sound, and real-life performing situations became such a foundation for everything that came next.Doug shares how his background in drum set and bass informs the way he plays and teaches, especially when it comes to music like Steve Reich, where micro-groove, ensemble feel, and knowing your role inside the bigger texture are everything. We also talk about how students learn now, how algorithm-driven listening can shrink context, and why so many young musicians feel pressure to avoid mistakes when everything can feel like a permanent record. Doug explains how he actively teaches context, lineage, and listening, and why basic production skills matter more than ever, including signal flow, microphones, sound reinforcement, and the simple confidence that comes from knowing how to set up a PA or wrap a cable correctly.From there, Doug takes us into his world at the University of Michigan, where he helps lead a large percussion studio with a faculty team that spans orchestral playing, contemporary music, improvisation, and drum set. We talk about the balance between performing and teaching, and how parenting an 18-year-old college student has changed the way he supports first-year undergrads. Doug also tells the story of his long relationship with composer John Luther Adams, including how a formative early experience with Strange and Sacred Noise eventually led to performances in the Alaskan tundra, floating stages in Central Park, and outdoor concerts where the audience hikes in and the environment becomes part of the piece. We wrap up with what's ahead for Doug, including significant projects, collaborations, performances, and the ongoing joy of bringing students into real work that proves their “crazy ideas” can matter in the world.Music from the Episode:Nagoya Marimbas (Steve Reich, composer - Todd Meehan & Doug Perkins, marimbas)XY (Michael Gordon, composer - Doug Perkins, percussion)Strange and Sacred Noise (John Luther Adams, composer - Morris Palter, Rob Esler, Steven Schick, & Doug Perkins - percussion)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.