The Bandwich Tapes

On this episode of The Bandwich Tapes, I sit down with SAVNT, lead singer of Ghost Hounds, for a conversation about the band's new album Justified, vocal interpretation, storytelling, musical identity, and the unexpected path that brought him into the group.We spend a lot of time talking about SAVNT's approach as a singer. Sam Cooke was one of his earliest and most important influences, but his musical upbringing was much broader than any one genre. Soul, rock, country, and pop all existed together in his home, and that openness still shapes the way he hears music today. As SAVNT puts it during our conversation, “soul is not a genre, it's a feeling.” That idea becomes a through line for much of the episode.We also get deep into the songwriting and recording process behind Ghost Hounds. SAVNT talks about working with Thomas Tull, who often approaches songs almost like a screenwriter, building characters, circumstances, and emotional backstories before SAVNT ever steps to the microphone. From there, the challenge becomes finding that character's truth and connecting it to something real in his own life. We talk about why he prefers singing complete takes in the studio and why he sometimes keeps recording even after everyone else thinks they already have the vocal.The story of how SAVNT joined Ghost Hounds is remarkable. After deciding to leave New York and move to Denver, one final performance in Brooklyn put him in front of the band's former lead singer, who recommended him for the job. Only months later, SAVNT was touring with The Rolling Stones, meeting artists including Lainey Wilson and Patty Griffin, and eventually performing at the Grand Ole Opry. He and drummer Sydney Driver even joined the band on the same day, giving both of them someone else to navigate that transition alongside.We also break down several songs on Justified, including “Sinner's Prayer,” “Pale Horse,” “Something Wicked,” “After You,” and the band's versions of “Gimme Shelter,” “Going Down,” and “Amazing Grace.” SAVNT explains why those older songs naturally became part of the album and why closing the record with “Amazing Grace” gives the entire project an emotional and spiritual destination. It's a conversation about roots music, perseverance, collaboration, and what happens when a singer stops thinking about genre and starts thinking about truth.Key TakeawaysSAVNT's vocal identity comes from an unusually broad musical foundation. Sam Cooke was a formative influence, but country, rock, soul, pop, and other styles were all part of his listening life from an early age.For SAVNT, soul is bigger than a genre. If a folk, bluegrass, country, rock, or jazz performance communicates something real enough to make him feel it, he considers that soul.Ghost Hounds approach songs as stories first. Thomas Tull often gives SAVNT detailed character and emotional context, allowing him to approach the vocal almost like an actor trying to find the truth of a role.SAVNT prefers recording complete vocal performances whenever possible. Singing the full song allows him to build naturally toward its emotional peaks instead of assembling the performance one isolated section at a time.Joining Ghost Hounds was the result of an unlikely chain of events. A final Brooklyn performance before SAVNT planned to move to Denver led to a recommendation, an audition, and ultimately a meeting with the band on January 1, 2024.SAVNT and drummer Sydney Driver joined Ghost Hounds on the same day. Their musical connection quickly became important, with SAVNT describing Sydney as an anchor whose playing helps guide his entrances and phrasing onstage.Justified developed organically rather than according to a rigid plan. Covers including “Gimme Shelter,” “Going Down,” and “Amazing Grace” were originally recorded without certainty that they would become part of an album, but eventually the music itself seemed to determine where they belonged.Songs from the EpisodeSomething Wicked - Ghost HoundsSinner's Prayer - Ghost HoundsGimme Shelter - Ghost HoundsAmazing Grace - Ghost HoundsGoing Down - Ghost HoundsAbout the PodcastThe Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made.Connect with the ShowQuestions, comments, guest suggestions, or just want to say hello?contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Italian guitarist, composer, producer, and sound engineer Emanuele Naima. Our conversation begins with Steve Reich's music and expands into a thoughtful exploration of sound, collaboration, and the freedom to pursue more than one creative path.Emanuele tells me how his interest in minimalist music and academic research led him to reimagine all three movements of Reich's Electric Counterpoint. By combining classical and electric guitars with synthesizers, handclaps, and snare drum, he honored the composition while creating a distinct atmosphere for each movement: memory, stillness, and conflict.We also trace Emanuele's musical life from beginning classical guitar at eight to completing 12 years of conservatory study. He shares the wonderfully varied music that filled his childhood home, including Pink Floyd, Aretha Franklin, Elton John, jazz, psychedelic music, and Michael Jackson. That open listening continues to shape a career that moves naturally among classical guitar, R&B, funk, ambient music, sound design, production, and live performance.Emanuele also reflects on his work with Puka Shells Bling, the influence of playing funk and dub with other musicians, and the way collaboration changes everything from touch and tone to harmony and time. We close by discussing his ambient compositions, work with dance and choreography, improvised techno, and his willingness to keep experimenting without forcing every musical interest into a single identity.Key TakeawaysEmanuele's reinterpretation of Electric Counterpoint began as part of a potential PhD proposal and later developed into a complete recording project.He combined classical guitar, electric guitar, synthesizers, handclaps, and snare drum while preserving the dynamics and structure of Steve Reich's composition.Each movement became a different image for Emanuele: a memory, a peaceful refuge, and a scene of conflict.Twelve years of conservatory study gave him a classical foundation, while funk, dub, R&B, ambient music, and production expanded his sense of rhythm and sound.His childhood listening moved freely among Pink Floyd, Aretha Franklin, Elton John, jazz, psychedelic music, Metallica, Madonna, Lady Gaga, and Michael Jackson.Playing with other musicians taught Emanuele how touch, energy, harmony, tone, and placement within the beat become part of a musician's identity.Rather than committing to a single narrow path, Emanuele is embracing experimentation across ambient music, dance, live performance, synthesizers, and improvised techno.Music from the EpisodeElectric Counterpoint - I. Fast - Emanuele NaimaElectric Counterpoint - III. Fast - Emanuele NaimaEquilibri - Emanuele NaimaAbout the PodcastThe Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. I sit down with musicians, songwriters, producers, and other artists for thoughtful conversations about craft, collaboration, careers, and the moments that happen both on and off the bandstand.Connect with the ShowQuestions, comments, and guest suggestions:contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with multi-instrumentalist and recording artist Erik Hall to talk about his evolving relationship with minimalist music. We begin with his large-ensemble interpretation of Simeon ten Holt's Canto Ostinato, created in collaboration with Metropolis Ensemble and Sandbox Percussion following a performance at the Brooklyn Botanic Garden.Erik takes me inside the challenges of moving from a solitary, multitracked recording process to an ensemble filled with individual players, instincts, and senses of time. We talk about tempo, repetition, concentration, and how a piece changes when musicians must listen, respond, and move through it together.We also trace Erik's path from childhood classical piano lessons through jazz drumming, rock bands, touring, and record-making. That wide musical background eventually brought him back to the piano and to solo interpretations of works by Steve Reich, Simeon ten Holt, Glenn Branca, Charlemagne Palestine, and Laurie Spiegel.  Along the way, Erik explains how microphone placement and instrumentation helped him build the sonic world of Music for 18 Musicians. He also reflects on the balance between honoring a score and giving himself enough freedom to discover something personal inside it.We close with Erik's return to original composition, the creative discipline of working every day, and the surprising power of writing music that can stand on its own in a single performance. We also talk about his recent time playing drums with Natalie Bergman—and why, behind the kit, feel matters far more than complexity.Key TakeawaysErik's large-ensemble version of Canto Ostinato grew from his 2023 solo recording and an invitation from Andrew Cyr of Metropolis Ensemble.The project began with a 52-musician performance at the Brooklyn Botanic Garden before being refined into a studio recording with Metropolis Ensemble and Sandbox Percussion.Playing repetitive music with an ensemble requires a different kind of attention than building it alone through overdubs, especially when navigating cues, repeats, tempo, and transitions.Erik's background in classical piano, percussion, jazz drumming, guitar, touring, and studio recording all informs the way he approaches minimalist music.While recording Music for 18 Musicians, Erik used instrumentation and microphone placement to preserve the behavior of Steve Reich's arrangement while creating a distinct sonic identity.Years of working on Canto Ostinato have transformed Erik's piano playing and reconnected him with the patient, incremental process of learning music.Erik is now developing original material, including music conceived for solo piano or Fender Rhodes, while also working on a film score and considering future interpretive recordings.Music from the EpisodeMusic for 18 Musicians (Pulses) - Erik HallCanto Ostinato - Erik HallStrumming Music - Erik HallMusic for a Large Ensemble - Erik HallThe Temple of Venus - Erik HallAbout the PodcastThe Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. Hosted by musician Brad Williams, each episode offers an honest, thoughtful conversation with artists, producers, engineers, and other members of the musical community.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Chris Malpass of The Malpass Brothers for a conversation about traditional country music, brother harmony, gospel, and the music that Chris and his brother Taylor have carried with them since they were kids.A big part of our conversation centers on their gospel project Satisfied and why making the album felt less like exploring new territory and more like coming home. Chris and Taylor started out singing gospel music when they were young, and many of these songs have been part of their musical vocabulary for years. We talk about working with Ben Isaacs, his role in shaping the project, and why recording it in front of a live audience captured something that would have been difficult to recreate in a studio.Chris also talks about The Malpass Brothers' relationship with Gaither Music and what it means to become part of an organization they grew up watching with their family. We get into the natural connection between traditional country and gospel music, from The Louvin Brothers and Merle Haggard to Buck Owens, Ernest Tubb, and the Happy Goodman Family. For Chris, those traditions aren't separate worlds. They have always informed one another.We also spend time talking about one of my favorite parts of The Malpass Brothers' sound: Chris and Taylor's harmony. Chris explains how naturally their vocal chemistry developed, why The Louvin Brothers became such an important influence, and how being siblings creates a musical connection that can be difficult to manufacture.Along the way, we remember the great Jimmy Capps, talk about the upcoming season of The Malpass Brothers Show, a traditional country Christmas album, another appearance at the Grand Ole Opry, and a busy touring schedule. At the center of it all is a deep respect for the people and music that came before them — and a desire to keep those songs alive without turning them into museum pieces.Key TakeawaysSatisfied represents a return to The Malpass Brothers' musical roots. Chris and Taylor performed gospel music as kids, making the project feel like a homecoming rather than a stylistic departure.Ben Isaacs helped shape the album while allowing Chris and Taylor to remain themselves. His suggestions included “Sheltered in the Arms of God” and Johnny Cash's “Ragged Old Flag,” while encouraging the brothers to interpret the material in their own style.Recording the project live was essential to its character. Chris believes the shared connection between the performers, songs, and audience created an emotional quality that would have been difficult to reproduce in the studio.Country and gospel have always shared musical and emotional territory. Chris sees both traditions as music about real life — hardship, redemption, faith, struggle, and the things people hold onto when life gets difficult.Brother harmony developed naturally for Chris and Taylor. Their musical communication goes back to childhood, when Taylor began singing harmony with Chris without the two of them ever formally planning it.The Louvin Brothers remain a foundational influence. Chris points not only to Charlie and Ira Louvin's harmony, but also their songwriting, gospel recordings, country recordings, and instrumental sound as an enduring model.Respect for musical history remains central to The Malpass Brothers. Whether talking about Jimmy Capps, Leon Rhodes, the Happy Goodman Family, Merle Haggard, or the Grand Ole Opry, Chris still approaches the people and traditions that shaped him with genuine admiration.Songs from the EpisodeSatisfied - The Malpass BrothersAbout the PodcastThe Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made.Connect with the ShowQuestions, comments, guest suggestions, or just want to say hello?contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Jeff Bush, director of the Tommy Dorsey Orchestra, for a conversation about swing music, leadership, ensemble playing, education, and the responsibility that comes with carrying one of American music's great band traditions forward.Jeff first joined the Tommy Dorsey Orchestra more than two decades ago when Buddy Morrow was leading the band, and after years spent pursuing other musical opportunities, he returned to take over the leadership role. We talk about what that job actually involves today — everything from hiring musicians, coordinating travel, and working with venues to choosing repertoire, writing arrangements, and making sure the band continues to sound authentic without becoming frozen in time.A big part of our conversation centers on feel. Jeff breaks down how the Tommy Dorsey Orchestra sits rhythmically compared with other great bands, including the Glenn Miller Orchestra and Count Basie Orchestra, and why forward motion without rushing is such an important part of swing. We also talk about the relationship between the drummer and lead trumpet, the importance of strong section leaders, and how a great rhythm section can completely change the way an ensemble feels.Jeff also shares the story of how he found the trombone, the influence of teachers who introduced him to great music, and what he learned both at Youngstown State University and the Manhattan School of Music. Just as importantly, we talk about the education that only comes from making gigs, being on the road, working with experienced musicians, and learning the professional skills that cannot be taught from a book.We also get into Tommy Dorsey's famous phrasing and breath control, including why singers such as Frank Sinatra paid such close attention to the way Dorsey played a melody. Jeff talks about his work as coordinator of jazz studies at Duquesne University, the changing realities of touring a seventeen-piece orchestra, and a new Tommy Dorsey Orchestra recording made largely as a working band with limited editing. At the heart of it all is Jeff's belief that this music belongs to a continuum — something each generation has a responsibility to learn, respect, and keep moving forward.Key TakeawaysLeading the Tommy Dorsey Orchestra means much more than standing in front of the band. Jeff is involved in personnel, travel, venue coordination, programming, arranging, and the day-to-day decisions required to keep a large ensemble working.Preserving a musical legacy does not mean simply recreating the past. The orchestra performs a substantial amount of material associated with Tommy Dorsey, while Jeff also looks for ways to introduce repertoire that feels consistent with what Dorsey himself might have explored.Swing depends on the feel of the entire ensemble. The rhythm section provides the foundation, but lead players throughout the horn sections must understand where the beat sits for the band to truly lock together.The drummer and lead trumpet function almost like co-quarterbacks in a big band. Their relationship has an enormous influence on time, articulation, dynamics, and the overall direction of the ensemble.Tommy Dorsey approached the trombone like a singer. His breath control, phrasing, and awareness of the lyric helped redefine what the instrument could sound like and became an important influence on vocalists including Frank Sinatra.Professionalism is built from simple, controllable habits. Jeff stresses punctuality, attitude, appearance, preparation, and learning how to work well with people as essential parts of a sustainable music career.Playing with experienced musicians is an education of its own. Jeff believes younger players develop adaptability, humility, ensemble awareness, and professional instincts by spending time on actual bandstands with musicians who have already lived that life.Music from the EpisodeOpus One - Tommy Dorsey OrchestraAbout the PodcastThe Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, educators, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made.Connect with the ShowQuestions, comments, guest suggestions, or just want to say hello?contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Josie Sal to talk about her new single “Cowboys & Barbies,” songwriting, finding her sound, and what she is learning as she begins building a career in music.“Cowboys & Barbies” started as an idea Josie carried around for nearly two years before deciding she was ready to write it. We talk about working with co-writers Kelly Johnson and Mara Streppa, and how the song uses the childhood image of Ken and Barbie to explore a much bigger realization: growing up means discovering that life rarely follows the script you imagined. Josie also shares one of the most important lessons she has learned as a songwriter — most songs are part of the practice that eventually gets you to the one you really believe in.We also get into the recording process with producer Brandon Hood. Josie explains how the original demo leaned much more toward pop and how Brandon helped move the song toward the country sound she heard in her head while still allowing it to feel like her. We talk about the small production details that give the track personality, including a toy-box-like sound in the bridge that subtly connects the arrangement back to the song's fairy-tale imagery.Josie tells me how unexpectedly singing entered her life after years of dancing. What began with her dad offering her twenty dollars to sing with a band during a family trip quickly developed into vocal lessons, performances, songwriting, and recording. We talk about how her background in dance helped shape her sense of rhythm and how she continues to work toward defining exactly what the Josie Sal sound should be.We also spend time talking about family. Josie describes the support she gets from her parents and three older siblings, how closely connected they remain, and what it has meant to experience the early stages of her music career alongside them. With “Cowboys & Barbies” arriving August 21 and its music video following August 28, Josie is focused on writing, releasing more music, playing shows, and continuing to develop an artistic identity that feels completely her own.Key Takeaways“Cowboys & Barbies” began as an idea Josie held onto for nearly two years. She waited until she felt ready to fully develop the concept rather than forcing the song before its time.The song is ultimately about growing up and letting go of the idea that life follows a predetermined script. The childhood imagery of Ken and Barbie becomes a way to examine expectations, relationships, and reality.Co-writing has taught Josie to value the process, not just the finished songs. She estimates that the overwhelming majority of songs a writer creates may simply be practice that leads to stronger work later.Producer Brandon Hood helped Josie move the song away from its pop-oriented demo and toward the country sound she envisioned. Small production ideas, including the toy-box texture in the bridge, helped reinforce the lyrical concept.Josie's musical path began unexpectedly. After growing up primarily as a dancer, she first sang with a band at age ten after her father offered her twenty dollars to do it.Her family has become an important part of the journey. Josie's parents have consistently supported their children's interests, while her older siblings regularly attend shows, promote her music, and remain closely involved in her life.Josie's current priority is defining her own sound. Beyond releasing individual songs, she is focused on writing extensively, performing, surrounding herself with the right team, and making sure future music sounds distinctly like Josie Sal.Songs from the EpisodeSong - ArtistAbout the PodcastThe Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made.Connect with the ShowQuestions, comments, guest suggestions, or just want to say hello?contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer-songwriter David Mead for a wide-ranging conversation about singing, record-making, fatherhood, and the changing place of music in our culture.David takes me back to his earliest experiences as a singer, from hearing his mother sing around the house to studying with vocal teacher Norris Brandstrom. Those lessons began to make sense when David heard Jeff Buckley and discovered how classical vocal technique could open the door to a more adventurous, expressive way of singing.We also get inside the making of January San Fernando. David explains how working with musicians such as Larry Goldings and Val McCallum helped him relinquish some creative control, trust the instincts of the people in the room, and recognize the energy that can live in an early take.  He also shares news of another record made with the same core group of musicians.Some of the most meaningful parts of our conversation are about family. David reflects on how becoming a husband and father changed his relationship with ambition, identity, mortality, and creative work. We close by discussing his beautiful version of Michael Jackson's “Human Nature,” the childhood memory behind it, and how a low-pressure recording project became the album Indiana.Key TakeawaysDavid is grateful that he learned to sing, play guitar, and write songs before music became inseparable from today's constant flow of digital content.Vocal teacher Norris Brandstrom helped him understand that singing and speaking are extensions of the same natural process.Hearing Jeff Buckley gave David a contemporary context for the classical vocal technique he had previously resisted.While making January San Fernando, David deliberately gave musicians such as Larry Goldings and Val McCallum room to follow their own instincts.He prefers the energy and discovery of early studio takes, especially when working with musicians who have not spent too much time studying the songs.Fatherhood helped David separate his love of music from the pressure to define himself through a recording career.His version of “Human Nature” grew from a powerful childhood memory and the creative freedom surrounding the making of Indiana.Music from the EpisodeNashville - David MeadBedtime Story - David MeadIndiana - David MeadHuman Nature - David MeadAbout the PodcastThe Bandwich Tapes is a podcast about music, creativity, and the people who devote their lives to making sound. I sit down with musicians, songwriters, composers, producers, engineers, and other creative artists to explore their work, their influences, and the experiences that continue to shape them.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Lee Newton and Heidi Parton to talk about their new recording of the country standard “Silver Threads and Golden Needles,” a collaboration with Georgette Jones that brings together three very different singers around a song that has endured for generations.Lee shares how the project began almost by chance. After thinking that Georgette would be a perfect voice for the song, Lee unexpectedly crossed paths with her only a week later. Heidi soon joined the project, and what began as a single collaboration quickly revealed a natural musical chemistry among the three singers. We talk about why their individual voices remain recognizable while still blending so naturally and how singing harmony requires listening closely to phrasing, pronunciation, tone, and the other voices around you.Heidi also talks about growing up in the Parton family and finding her own artistic identity while respecting the musical legacy surrounding her. She discusses the importance of recognizing that there will only ever be one Dolly Parton, and that her responsibility as an artist is not to imitate that legacy, but to discover what makes her own voice distinctive.Along the way, Lee reflects on collaborations with artists including Pam Tillis, Leona Williams, Joe Bonsall, and Ben Isaacs, and how working with other singers has continued to challenge and develop her as an artist. We also dig into why “Silver Threads and Golden Needles” continues to connect with listeners, from Wanda Jackson's early recording to later versions by Linda Ronstadt, Dolly Parton, Tammy Wynette, and Loretta Lynn.Most of all, this conversation is about what happens when singers listen to one another. Lee and Heidi talk about chemistry, friendship, harmony singing, learning from other musicians, and the possibility that “Silver Threads and Golden Needles” may only be the beginning for the trio they have begun calling the Rhinestone Darlings.Key TakeawaysLee Newton brought Heidi Parton and Georgette Jones together for a new version of “Silver Threads and Golden Needles,” despite having never previously worked with either singer.Their arrangement reaches back to the Wanda Jackson version of the song and restores a second verse omitted from several later recordings.Heidi explains how background singing requires careful attention to another vocalist's phrasing, pronunciation, enunciation, and musical personality.Lee discusses how collaborations with artists including Pam Tillis, Leona Williams, Joe Bonsall, and Ben Isaacs have challenged her and helped her grow as a singer.Heidi reflects on the expectations that come with the Parton family name and why finding her own warm, soulful vocal identity has been essential to her development as an artist.Lee and Heidi believe the lasting appeal of “Silver Threads and Golden Needles” comes partly from the honesty of its lyrics and the ability of singers and listeners to connect it to their own experiences.The chemistry developed between Lee, Heidi, and Georgette has led to conversations about future recordings—and possibly a larger project together as the Rhinestone Darlings.Music from the EpisodeSilver Threads and Golden Needles - Lee Newton, Heidi Parton, & Georgette JonesAbout the PodcastThe Bandwich Tapes is a podcast about the people who make music and the experiences that shape the way they make it. Host Brad Williams talks with musicians, songwriters, producers, and other creative artists about their careers, craft, collaborations, influences, and the choices that shape their music.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with percussionist, composer, educator, and Sō Percussion member Josh Quillen for a wide-ranging conversation about teaching, ensemble life, steel pan, podcasting, grief, musical history, and the value of listening closely.Josh joined Sō Percussion in 2006 and has spent nearly two decades helping the ensemble develop its distinctive approach to contemporary chamber music. We talk about how the group has evolved from a model built around four percussionists playing similar setups into one that more openly reflects the individual musical identities of its members. Josh shares how composers such as Steven Mackey helped the group recognize the value of those differences, from steel pan and drum set to marimba, electronics, singing, and synthesizers.We also spend time discussing the Sō Percussion Summer Institute, which Josh describes as one of the most demanding and rewarding parts of his year. He explains how the institute asks young musicians to learn an enormous amount of music with unfamiliar collaborators, confront insecurity, and discover that missing a note is rarely the most important problem in the room.The conversation becomes deeply personal as Josh talks about losing his father to ALS, preserving one of the final recordings of his voice, and how that experience helped shape his podcast, Concert Honesty. We discuss the importance of documenting artists as full human beings, the danger of turning musical heroes into myths, and what Josh has learned from speaking with musicians such as Russ Hartenberger, Bob Becker, Joan Tower, Steve Reich, and others.Along the way, Josh reflects on growing up in rural Ohio, learning discipline from his father's work at a bottling warehouse, discovering steel band in high school, traveling to Trinidad without a phone, and learning that musical development often comes from curiosity, failure, repetition, and the freedom to make mistakes without having every moment permanently documented.Key Takeaways• The Sō Percussion Summer Institute is designed to give young musicians an intensive taste of professional ensemble life, including uncertainty, limited rehearsal time, unfamiliar collaborators, and ambitious repertoire.• Josh believes strong teaching requires precision, empathy, and the ability to give honest criticism without stripping students of their confidence.• Sō Percussion's musical identity has gradually shifted from four players demonstrating similar technical skills toward a model that embraces each member's individual musical interests.• Steven Mackey's It Is Time became an important turning point by highlighting Josh's steel pan background and the distinct musical personalities of the Sō Percussion members.• Josh's approach to Steve Reich's music is rooted in chamber music precision, shared pulse, groove, and a clearly defined ensemble identity.• Concert Honesty began partly as a way to preserve the voices, experiences, and humanity of musicians beyond their résumés and major accomplishments.• Losing his father to ALS shaped Josh's understanding of memory, grief, recorded sound, and the importance of preserving a person's voice.Music from the EpisodeMusic for Wood and Strings (Part 1) - Bryce Dessner (Sō Percussion)To the Sky - Caroline Shaw (Sō Percussion)Let the Soil Play Its Simple Part - Caroline Shaw (Sō Percussion)Rectangles and Circumstance - Caroline Shaw (Sō Percussion)About the PodcastThe Bandwich Tapes is a podcast about how music gets made and the people who make it. Hosted by musician Brad Williams, the show features thoughtful, musician-to-musician conversations about craft, collaboration, creative process, artistic growth, and life in music.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Darin and Brooke Aldridge to talk about Soul Condition, their first full gospel album in nearly two decades. Rooted in the churches and musical traditions of western North Carolina, the record feels both deeply familiar and unmistakably their own.Darin and Brooke explain how they selected songs they had been saving for years, including material they sang when they first began performing together. We discuss their recording process, the balance between entering the studio with a plan and leaving room for discovery, and their approach to honoring traditional arrangements without simply recreating what another artist has already done.We also talk about the guests who help bring Soul Condition to life. Darin and Brooke reflect on their long friendship and musical partnership with John Cowan, the confidence he helped draw out of Brooke, and the joy of recording “You Don't Knock” together. They also discuss singing behind Jason Crabb and the craft involved in becoming an extension of another lead vocalist.Our conversation returns again and again to harmony—musical and personal. Darin and Brooke share how their backgrounds in gospel, country, and bluegrass helped them develop a sound that feels instinctive, unified, and connected to home.Key TakeawaysSoul Condition is Darin and Brooke's first all-gospel album since their debut project, I'll Go With You.Several selections had been saved for years, while others reach back to the music they sang when they first started performing together.They enter the studio with an arrangement in mind but remain open to ideas that emerge once the musicians begin playing.Darin's experience singing with Charlie Waller and The Country Gentlemen shaped the way he supports Brooke as a harmony vocalist.Performing with John Cowan helped Brooke gain confidence and become less afraid to use the full power of her voice.When inviting established artists onto a record, they provide guidance but allow each guest to retain an individual musical identity.Darin approaches an album sequence much like a live set, considering tempo, key, energy, and the story created by the song order.Music from the EpisodeDarin & Brooke Aldridge — Soul ConditionAbout the PodcastThe Bandwich Tapes is a podcast about music, creativity, and the people who devote their lives to making sound. I sit down with musicians, singers, songwriters, producers, engineers, and other creative artists to explore their work, their influences, and the experiences that continue to shape them.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Ruthie Foster to talk about her new album, Just Say Yes, and the musical journey that gave her such a powerful connection to songs, audiences, and the spirit inside a performance.Ruthie takes me into the making of the record with co-writer and producer Tyler Bryant. We talk about the importance of a great rhythm section, how different drummers can reshape a singer's phrasing, and why Ruthie prefers to step aside and let musicians bring their own interpretations to her songs. She also introduces us to her self-created background vocal group, affectionately known as the “Cheap Inspirations.”We trace Ruthie's story from learning piano and guitar in small-town Texas to studying music in Waco and working as a session singer during her time with Atlantic Records in New York. She reflects on the education she received in studios, songwriter circles, church services, and nearly empty clubs—and how each setting taught her something different about craft, versatility, and connecting with a room.At the center of our conversation is the idea behind Just Say Yes. What began as a reminder to accept professional opportunities has grown into something more personal: saying yes to herself, her family, and what truly matters. We also discuss parenthood, the emotional life of a song, and why Ruthie is still waiting for these new songs to reveal everything they have to teach her.Key TakeawaysRuthie gives the musicians on her albums room to interpret each song and contribute their own musical personalities.Her background as a New York session singer taught her versatility, efficiency, and how to change the timbre of her voice for different projects.Studying music in Waco exposed her to arranging, publishing, copyright, big-band instrumentation, and the business behind a musical career.Growing up in the church taught Ruthie that music begins with feeling and with the ability to change the atmosphere in a room.Songs continue to evolve for her over time, sometimes revealing their full emotional meaning only after years of performance.Just Say Yes looks forward, while her previous album, Mileage, invited her to look back over her life.The album's title has grown from a professional reminder into a commitment to say yes to herself, her family, and the things that matter most.Music from the EpisodeDoubling Back - Ruthie FosterThank You - Ruthie FosterYes - Ruthie FosterHold On - Ruthie FosterAbout the PodcastThe Bandwich Tapes is a podcast about music, creativity, and the people who devote their lives to making sound. I sit down with musicians, singers, songwriters, composers, producers, engineers, and other creative artists to explore their work, their influences, and the experiences that continue to shape them.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Tropidelic drummer Rex Larkman to talk about the band's new album, First Light, and the musical evolution behind it. Rex joined the Cleveland group in 2018, bringing the intensity of his punk and metal background into Tropidelic's blend of reggae, rock, ska, funk, and hip-hop.We dig into Rex's growth as a drummer—from wanting to play everything to recognizing the beauty and difficulty of playing exactly what a song needs. He explains why pocket, restraint, and a strong connection with the bass player matter so much in rhythm-driven music, and why listeners often move more when the drummer leaves space.Rex also takes us inside the making of First Light. Ideas emerged at soundchecks and on the road before being developed with producer Craig Broadhead in Cleveland. Live performances, programmed beats, layered snares, keyboards, and studio experimentation all became part of an album in which every song was allowed to find its own sound.We talk about the danger of quantizing the life out of a drum performance and the importance of allowing music to breathe. Rex describes how Tropidelic transforms its studio recordings for the stage by changing tempos, rearranging sections, adding horn solos, and adjusting set lists from one night to the next.We also discuss Tropidelic's touring community, the band's Everwild festival, and the positive message running through the new music. For Rex, the goal is straightforward: work hard, connect with the audience, support the people around you, and give every room a high-energy show that still feels human.Key TakeawaysRex joined Tropidelic in 2018 after becoming part of Cleveland's local punk and independent music community.His early influences included classic rock, Metallica, Avenged Sevenfold, punk, metal, ska, Sublime, Streetlight Manifesto, and Less Than Jake.Playing with Tropidelic taught Rex that restraint can be more challenging—and more musical—than filling every available space.Much of First Light began with short ideas created at soundchecks and developed later with producer Craig Broadhead.The album combines live drums, programmed elements, layered snare sounds, keyboards, effects, and production created in several locations.Rex believes precise editing can remove the natural movement from a performance; everything should feel in time without necessarily sitting perfectly on a grid.Tropidelic regularly reshapes its songs for the stage, changing tempos, shortening arrangements, adding solos, and responding to each audience.Music from the EpisodeSignals - TropidelicAbout the PodcastThe Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. Hosted by musician Brad Williams, each episode offers an honest, thoughtful conversation with artists, producers, engineers, and other members of the musical community.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Johnny Owens for a thoughtful conversation about carrying one of country music's most important legacies into a new generation. As the son of Buck Owens, Johnny has embraced the responsibility of preserving the Bakersfield Sound while creating a live show that celebrates not only the music, but also the memories that come with it.We talk about why classic country music continues to resonate with audiences decades after it was first recorded. Johnny shares how his concerts combine the songs of Buck Owens, Merle Haggard, Dwight Yoakam, and Hee Haw memories into an experience that reconnects people with important moments from their own lives. For him, success isn't measured by chart positions—it's measured by the stories people tell after the show.Our conversation also explores the unique history of the Bakersfield Sound and what separated it from Nashville's polished productions. Johnny reflects on Buck Owens' partnership with Don Rich, the influence of Fender Telecasters, the storytelling traditions of artists like Merle Haggard and Marty Robbins, and why today's younger artists seem to be rediscovering traditional country music.Along the way, we discuss Buck Owens' relationship with The Beatles, the enduring popularity of “Act Naturally,” Johnny's new recordings of classic Buck Owens songs, and why kindness, humility, and appreciation for audiences remain at the center of everything he does. It's a conversation about legacy, gratitude, and the timeless power of songs that tell honest stories.Key TakeawaysJohnny Owens sees preserving the Bakersfield Sound as both an honor and a responsibility to his father's legacy.His concerts focus on creating memories by combining Buck Owens, Merle Haggard, Dwight Yoakam, and Hee Haw into an entertaining live experience.Johnny believes genuine appreciation for fans is one of the defining qualities shared by country music's greatest artists.We explore the musical differences between the Bakersfield Sound and the Nashville Sound, and why traditional country storytelling continues to endure.Johnny shares the fascinating story behind The Beatles' recording of “Act Naturally” and their admiration for Buck Owens.His new music includes fresh recordings of “Act Naturally,” “Together Again,” an upcoming Christmas release of “Santa Looked a Lot Like Daddy,” and a full-length album planned for release.Music from the EpisodeAct Naturally - Johnny OwensAbout the PodcastThe Bandwich Tapes is a long-form interview podcast where I sit down with musicians, songwriters, producers, and music industry professionals to explore the stories behind the music. Together, we dive into creative process, musical influences, career journeys, collaboration, recording, performance, and the experiences that shape great artists.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with country music legend Moe Bandy for a conversation that spans more than five decades of country music history. We talk about his latest album, Songs I Missed, a collection of classic country songs that he loved for years before finally having the opportunity to record them. Moe shares why revisiting these songs felt fresh all over again and reflects on what it means to honor the originals while making them his own.Our conversation explores the importance of paying your dues in smoky Texas honky tonks, where playing four-hour sets night after night became an education that no classroom could ever provide. Moe explains why those years shaped him as both a singer and performer, and why he still encourages young artists to earn their experience the same way.We also dive into some of the remarkable stories behind his biggest recordings, including how Lefty Frizzell and Whitey Shafer delivered “Bandy the Rodeo Clown,” Conway Twitty's role in bringing “Hey Joe, Hey Moe” back to life, and the lasting impact of “Till I'm Too Old to Die Young.” Along the way, we discuss songwriting, recording with legendary producer Jimmy Capps, and the emotional weight that certain songs continue to carry decades after they were first released.Finally, Moe reflects on a career that has taken him from South Texas dance halls to the Grand Ole Opry, sharing memories of seeing his heroes waiting in the wings and why, after more than fifty years in country music, performing live still brings him as much joy as ever.Key TakeawaysMoe discusses the inspiration behind his new album Songs I Missed and why these longtime favorite songs finally felt right to record.He shares the unforgettable story of Lefty Frizzell calling him in the middle of the night to sing “Bandy the Rodeo Clown” over the telephone.We talk about how years spent playing Texas honky tonks shaped his musicianship and prepared him for a recording career.Moe reflects on the emotional legacy of “Till I'm Too Old to Die Young” and the deeply personal stories fans continue to share with him.He remembers recording with legendary guitarist and producer Jimmy Capps, including their plans for a gospel album that became Thank You Lord.We discuss how Conway Twitty helped inspire the recording of “Hey Joe, Hey Moe.”Moe reflects on more than fifty years in country music and why performing at the Grand Ole Opry remains one of the greatest honors of his career.Songs from the EpisodeHeartaches By the Number - Moe BandyAbout the PodcastThe Bandwich Tapes is a long-form interview podcast where I sit down with musicians, songwriters, producers, and music industry veterans to explore the stories behind their careers, creative process, collaborations, and the music they've made. Each episode goes beyond the headlines to uncover the experiences, philosophies, and moments that shape an artist's life and work.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with pianist Floyd Domino for a conversation about Western swing, boogie-woogie, jazz, musical identity, and a career spent supporting some of the most important artists in music.Floyd talks about beginning piano lessons at five years old, moving from classical study into jazz, and developing the unusual independence that allows his left hand to establish the foundation while his right hand tells the story. We discuss the pianists who influenced him, including Count Basie, Oscar Peterson, Moon Mullican, Jerry Lee Lewis, Al Stricklin, Pete Johnson, Jay McShann, Hank Jones, Ralph Sutton, and Kenny Barron.We also trace Floyd's path into Asleep at the Wheel, which began with an unexpected audition after a period of playing bars in Montana. Floyd explains how his jazz background helped move the band further toward Western swing and how musicians including Al Stricklin, Eldon Shamblin, Johnny Gimble, Ralph Mooney, and other pioneers taught his generation to respect tradition while still developing an individual voice.Floyd shares stories from his work with Waylon Jennings and George Strait, including his decision not to study George Strait's earlier records before entering the studio. Instead, he chose to trust the reason he had been hired and bring his own musical personality to the sessions. We talk about the responsibility of a sideman, the challenge of staying out of the bass player's range, and the advice he received that a musician's real job is to make everyone else in the band sound better.Our conversation also explores Floyd's children's recordings, beginning with the Beatles-inspired Baby Road. He recalls recording at Jack Clement's Cowboy Arms Hotel and Recording Spa, being told that the project needed a bass player, and discovering that the available musician was Edgar Meyer. Floyd also discusses working with members of The Crickets and forming the Floyd Domino All-Stars with musicians including Emily Gimble and Danny Levin.Key TakeawaysFloyd believes the first requirement of Western swing is that it must genuinely swing.Musical identity matters as much as technical accuracy; the pioneers encouraged younger players to absorb the tradition without becoming imitations.Floyd's two-handed piano style depends on watching the patterns in his left hand while listening closely to the melodic ideas in his right.His jazz background helped bring a stronger swing influence into Asleep at the Wheel.Floyd entered his George Strait sessions determined to sound like himself rather than copy the pianist from an earlier record.A good sideman listens for what is missing, stays out of other musicians' way, and works to make the entire band sound better.The children's album Baby Road began as a way to present strong melodies simply, without allowing arrangement or ego to overwhelm the songs.Music from the EpisodeThe Mess Around - Floyd DominoBob's Breakdown - Asleep at the WheelHouse of Blue Lights - Asleep at the WheelAce in the Hole - George StraitI Will - Floyd DominoAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer, songwriter, harmonica player, and bandleader Christopher Wyze for a conversation about creativity, discipline, mentorship, and discovering an entirely new musical life later in adulthood.Christopher spent decades working as a professional writer and advertising executive before writing his first song in 2022. We talk about how those years of meeting deadlines, telling stories, and finding the clearest possible language prepared him for songwriting. He shares how producer and mentor Ralph Carter encouraged him to take his writing seriously, ultimately leading to the album Stuck in the Mud, recorded in Muscle Shoals with an exceptional group of musicians.We also explore the joy and vulnerability of entering the studio with world-class players, including members of the Hi Rhythm Section, and hearing a simple lyric or demo become a fully realized piece of music. Christopher talks about collaboration, learning to trust the room, and the responsibility he feels to keep writing and recording while the songs are arriving.A major part of our conversation centers on Naptown Blues, Christopher Wyze and the Tellers' tribute to Indianapolis blues musicians Leroy Carr and Scrapper Blackwell. We discuss their influence on artists such as Robert Johnson, the overlooked history of blues recording in Indiana, and why Christopher feels called to help preserve and share that legacy.Ultimately, this is a conversation about believing someone when they see something in you, finding purpose after a difficult professional chapter, and reaching a point in life where fear no longer gets to make the decisions.Key TakeawaysChristopher wrote his first song in 2022 after decades of professional writing in newspapers, magazines, books, and advertising.Producer and former Eddie Money collaborator Ralph Carter became a mentor who encouraged Christopher to write original music and helped shape his songs in the studio.His debut album, Stuck in the Mud, was recorded in Muscle Shoals with musicians including guitarist Eric Deaton.Christopher approaches songwriting much like advertising: identify the central idea, use as few words as possible, and allow music and imagery to carry part of the story.Playing with musicians such as the Hi Rhythm Section has taught him to trust the moment and elevate his own performance.Naptown Blues honors Indianapolis blues pioneers Leroy Carr and Scrapper Blackwell, whose music helped influence Robert Johnson and “Sweet Home Chicago.”Christopher believes his most important work now is writing and recording songs, even when that means performing less often.His return to music has given him a sense of joy, purpose, and fearlessness that he did not have earlier in life.Music from the EpisodeI'm Going Back to Tennessee - Christopher WyzeAbout the PodcastThe Bandwich Tapes is a long-form interview podcast hosted by Brad Williams featuring thoughtful conversations with musicians, songwriters, producers, and artists about creativity, craft, collaboration, and the experiences that shape their work. Each episode moves beyond biography to explore how music is written, performed, recorded, and lived.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Stephanie Rabus for a conversation about resilience, perseverance, and what it really looks like to build a music career one performance at a time.Stephanie shares how she balances life between Nashville's Broadway scene and weekends performing with her longtime cover band, Borderline, in the St. Louis area. We talk about the unique challenges of performing for different audiences, reading a room, developing as a live vocalist, and how every show becomes another opportunity to grow.Our conversation also explores Stephanie's remarkable personal story. From open-heart surgery as a child to another heart procedure earlier this year, music has been a constant source of purpose and healing throughout her life. We discuss how those experiences shaped songs like “I Told Me So,” and why honest storytelling has become the foundation of everything she writes.Along the way, we dive into Nashville, songwriting, harmony singing, touring as a backup vocalist for Georgette Jones, learning from country music's rich traditions, and why Stephanie continues to pursue her career entirely on her own terms. It's an inspiring conversation about resilience, artistry, and believing that your best work may still be ahead of you.Key TakeawaysStephanie balances a demanding schedule between performing regularly on Nashville's Broadway and traveling to St. Louis for weekend shows with Borderline.Music became both an emotional refuge and a source of confidence after childhood health challenges, including open-heart surgery.Her recent single “I Told Me So” reflects the importance of perseverance and trusting yourself through life's setbacks.Stephanie discusses lessons learned from an early record deal and why independent artists now have more opportunities than ever.Touring as a harmony singer for Georgette Jones deepened her appreciation for vocal phrasing and supporting another artist's musical identity.Live performance continues to shape her artistry as she adapts every show to the audience in front of her.New music is already on the horizon, including several upcoming singles and a possible Christmas project.Music from the EpisodePayback's a Beach - Stephanie RabusAbout the PodcastThe Bandwich Tapes is a long-form interview podcast hosted by Brad Williams featuring thoughtful conversations with musicians, songwriters, producers, and artists about creativity, craft, collaboration, and the stories behind the music. Each episode goes beyond biography to explore how music is made and the experiences that shape the people who create it.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with multi-instrumentalist, singer, songwriter, and producer Eliot Lewis for a conversation about rhythm, versatility, technology, and the experiences that shaped his remarkable career.Eliot began as a drummer and still considers rhythm the foundation of everything he does. We talk about how that early connection to the drums influenced his work as a guitarist, bassist, keyboardist, singer, and songwriter, as well as the unspoken communication that develops when musicians spend years learning how to play together.We also explore Eliot's years with Average White Band, where he grew as a performer and lead vocalist while sharing stages with artists including Earth, Wind & Fire, B.B. King, Buddy Guy, War, and the Ohio Players. Eliot discusses his work with producer and songwriter Dan Hartman, playing on Tina Turner's “The Best,” and learning the value of becoming a musical chameleon who can understand and support many different artists.A large part of our conversation focuses on Eliot's time with Hall & Oates and Live from Daryl's House. He explains how the musicians learned and recorded new material with very little rehearsal, why Daryl Hall wanted the performances to remain spontaneous, and what Eliot learned from working with guests such as Robert Fripp, CeeLo Green, Booker T. Jones, Grace Potter, and KT Tunstall.Eliot also takes us inside his current solo live-looping show. He describes the technical and musical challenge of creating the sound and dynamics of a full band by himself, the importance of remaining in the moment, and why technology should always serve the song rather than replace the musicianship underneath it.Key TakeawaysEliot still considers himself a drummer first, and rhythm remains the foundation of his work on every instrument.His live-looping show is designed to create the feeling and dynamics of a three- or four-piece band rather than simply repeat accompaniment.Learning several instruments helped Eliot understand how each musical role fits into an arrangement without competing for space.His years with Average White Band developed his confidence as a singer, songwriter, performer, and collaborative band member.Working on Live from Daryl's House required strong ears, quick preparation, trust between musicians, and an ability to respond in the moment.Eliot believes technology is most effective when it supports the song, but a performer must still be able to play and communicate when the technology fails.Running a solo career means balancing music with booking, travel, marketing, arranging, production, and the many other responsibilities that happen away from the stage.Music from the EpisodeRetroactive - Eliot LewisJetstream - Eliot LewisSonic Soldier - Eliot LewisHelpless - Eliot LewisAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Barns Courtney for a wide-ranging conversation about performance, songwriting, musicianship, ambition, and the strange balance between control and chaos.Barns talks about the solo acoustic shows he has been playing and how stripping away the band has changed his relationship with an audience.  Without a fixed stage plan, every night becomes more unpredictable, more conversational, and more dependent on what is happening in the room. We discuss why great performances need an element of risk and how those shows have reminded him not to let ambition overshadow gratitude.We also talk about his ongoing work as a singer and the discipline required to maintain an instrument that is constantly changing. Barns reflects on vocal lessons, life on the road, the financial realities of touring, and the challenge of building a sustainable career without losing the joy that made him want to perform in the first place.  Barns also takes us inside the making of his new album with producer and multi-instrumentalist Jonathan Wilson. He describes being challenged to improve as a musician, learning when to loosen his grip on an arrangement, and discovering how a fresh perspective can reveal what a song actually needs.Our conversation moves through meditation, neurodivergence, social media, aging, creative discipline, and the story behind “Glitter & Gold,” which was recorded with one microphone, an out-of-tune piano, filing cabinets, and whatever sounds were available in the room. Throughout it all, Barns returns to one idea: the real purpose of performing is not to prove how impressive you are, but to connect with people and bring them some measure of joy.Key TakeawaysBarns continues to take vocal lessons and views singing as an instrument that must be constantly relearned as the body changes.His acoustic shows have created more space for improvisation, audience interaction, humor, and genuine unpredictability.He believes a performance can become too controlled, and that risk is often necessary for a show to feel transcendent.Working with Jonathan Wilson challenged Barns to become more proficient as an instrumentalist and more open to outside ideas.Barns now approaches songwriting with greater discipline, comparing the process to fishing: showing up regularly without knowing what will surface.The live album captured the sound of a band that had developed trust, instinct, and a shared musical language through touring together.Barns has come to see performance less as a display of ambition and more as an opportunity to connect with people and bring them joy.Music from the EpisodeFun Never Ends - Barns Courtney99 - Barns CourtneyGlitter & Gold - Barns CourtneyAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Terri Lyne Carrington to discuss her remarkable career, her artistic evolution, and her ambitious new album, Trip the Night Fantastic. Widely recognized as one of the most influential drummers, composers, producers, and educators working today, Terri shares how groove, storytelling, and social consciousness have become inseparable parts of her creative voice.We talk about the concept behind Trip the Night Fantastic, which Terri describes as a groove-centered project created for difficult times. Our conversation explores the relationship between dance, rhythm, and emotional connection, and how groove can often reach listeners before lyrics ever do. Terri reflects on jazz's historical relationship with dance music and why reconnecting with that tradition felt important for this project.We also dive into her journey as an artist and how life experience eventually led her to fully integrate her identity, values, and artistic work. Drawing on lessons learned from mentors such as Wayne Shorter and Herbie Hancock, Terri discusses leadership, collaboration, production, and the challenge of balancing a strong artistic vision with creating space for others to contribute.The conversation also explores the work of the Berklee Institute of Jazz and Gender Justice, the role of representation in music education, and the importance of creating environments where new voices can shape the future of the art form. Along the way, Terri reflects on her upbringing in Boston, her experiences working alongside some of the greatest musicians in jazz history, and what gives her hope when she looks at the next generation of artists.This is a thoughtful conversation about creativity, purpose, community, and the ongoing evolution of jazz from one of its most important modern voices.Key TakeawaysTrip the Night Fantastic was conceived as a groove-oriented album designed to reconnect jazz with its dance traditions.Terri believes groove often creates an emotional connection before listeners fully engage with lyrical content.Her artistic identity became stronger when she stopped separating her life experiences from her creative work.Lessons from mentors like Wayne Shorter and Herbie Hancock continue to influence her approach to music and leadership.Producing music requires balancing a clear artistic vision with openness to collaborators' ideas.The Berklee Institute of Jazz and Gender Justice was created to expand opportunities and perspectives within jazz education.Terri remains optimistic about the future of jazz because of the creativity, knowledge, and commitment she sees in younger musicians.Music from the EpisodeRiddim Song - Terri Lyne CarringtonIdentity Song - Terri Lyne CarringtonAutonomy Song - Terri Lyne CarringtonSolidarity Song - Terri Lyne CarringtonAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams that features in-depth conversations with musicians, composers, producers, educators, and other creative artists. Each episode explores the craft of making music, artistic growth, collaboration, creative philosophy, and the stories behind the people shaping today's musical landscape.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with country singer and songwriter Makenzie Phipps for a conversation about small-town roots, faith, songwriting, performance, and the experience of stepping onto one of music's biggest television stages.Makenzie grew up in Bluefield, Virginia, near the West Virginia line, and began singing in church when she was four years old. We talk about the support she still receives from her hometown, the transition from a small community to Nashville, and how years of performing taught her that singing the notes is only one part of connecting with an audience.We also discuss the growth she has experienced as a songwriter. Makenzie explains how writing her own material changed the way she listens to lyrics and approaches storytelling, and why she wants listeners to believe and feel the story behind every song she sings.A major part of our conversation focuses on her experience on The Voice. Makenzie shares the pressure of waiting for her blind audition, learning that only one place remained, and stepping onto the stage after nearly convincing herself she would not get the opportunity. Snoop Dogg turned his chair at the final moment, making Makenzie the last singer chosen for a team that season.Makenzie also tells the story behind “Devil Ain't in Hell,” her duet with fellow The Voice contestant Aubrey Nicole. The two wrote the song late one night while working on the show in California, later recording it with producer Grady Saxman at Saxman Studios. What began as an unplanned hotel-room co-write became a lasting musical connection and a new chapter in Makenzie's career.Key TakeawaysGrowing up in Bluefield, Virginia, taught Makenzie to appreciate community, support, and the opportunities that come with pursuing music.Music from the EpisodeDevil Ain't in Hell - Makenzie PhippsAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer, songwriter, producer, author, and visual artist Kelly Lang for a conversation about creativity, confidence, country music, and the experiences that have shaped her life and work.Kelly and I begin by discussing the many forms her creativity takes, from songwriting and recording to painting, producing, and creating videos. She talks about learning to move between those disciplines, the freedom that comes from no longer being afraid to fail, and the challenge of navigating social media without letting a single negative voice outweigh the support of an entire audience.We also discover that Kelly and I share an unusual part of our musical histories: we both appeared on Star Search. Kelly reflects on competing as a young artist, navigating unexpected changes during the show, and why she is grateful that her experience took place before social media became part of every televised performance.Kelly also shares stories from growing up around Conway Twitty, whose road manager was her father. She remembers hearing Conway test new songs for family and friends, sitting beside the stage as audiences responded to him, and realizing at an early age that she wanted to create that same kind of connection. We discuss her song “Goodbye Darlin',” written in Conway's honor, and the songwriting lesson she learned from Harlan Howard: say as much as possible with as few words as necessary.Our conversation also explores Kelly's growth as a producer, the confidence she has developed in the studio, and the emotional perspective that comes from experience. Twenty-two years after a breast cancer diagnosis, Kelly says she is less interested in chasing fame and more interested in creating music that helps someone through a difficult day. She also introduces her album Jealous Green Eyes and the single “Never Met a Man I Didn't Love.”Key TakeawaysKelly sees songwriting, painting, producing, and video creation as connected parts of a larger creative life.Her experience on Star Search taught her to adapt quickly, perform under pressure, and trust herself at a young age.Growing up around Conway Twitty gave Kelly an early understanding of songwriting, performance, and the connection between an artist and an audience.Harlan Howard taught her to write directly and use as few words as possible while preserving the song's emotional meaning.Kelly has become more confident about expressing her musical ideas and making final production decisions on projects bearing her name.Life experience has deepened the way she writes and interprets songs, giving her greater empathy and emotional perspective.More than two decades after her breast cancer diagnosis, Kelly now measures success by whether her music moves, encourages, or helps another person.Music from the EpisodeThis Too Shall Pass - Kelly LangAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Celeste Marie Wilson for a conversation about songwriting, identity, performance, and the long road toward becoming the artist she always wanted to be.With her debut album, Southern American Princess, on the way, Celeste shares how the project has become more than just a collection of songs. We talk about embracing Southern roots after once wanting to escape them, how poetry naturally evolved into songwriting, and why place, family, and storytelling have become central to her artistic voice.We also spend time discussing the craft behind the music. Celeste talks about developing her voice over more than a decade of dedicated work, the importance of vocal health, recording in the studio with an open mind, and why collaboration often leads to performances she never could have imagined on her own.Along the way, we dive into musical theater, songwriting influences like Dolly Parton, Kris Kristofferson, Janis Joplin, and Kristin Chenoweth, the experience of winning a Josie Music Award, and the thoughtful process of assembling an album that tells a complete story from beginning to end. It's an honest conversation about finding confidence in your own voice, both musically and personally. Key Takeaways Celeste discusses how Southern American Princess became an exploration of Southern identity, heritage, and personal growth.  She explains why she considers herself a writer first and a singer second, with songwriting rooted in poetry and storytelling.  Musical theater helped shape her approach to live performance, from stage presence to visual presentation and audience engagement.  She shares her disciplined philosophy on vocal health, including regular coaching, fitness, and the protection of her instrument.  Recording sessions are collaborative, and she intentionally leaves her ego behind so producers, engineers, and musicians can shape the songs together.  Celeste reflects on winning a Josie Music Award and how trusting her instincts ultimately led her to opportunities in Nashville.  The conversation explores why album sequencing still matters and how a carefully ordered record creates a meaningful listening experience. Music from the ShowMarie - Celeste Marie WilsonAbout the ShowThe Bandwich Tapes is a long-form interview podcast in which I sit down with musicians, songwriters, composers, producers, and artists to explore the creative process behind their music. Rather than focusing on biographies, these conversations dive into artistic philosophy, collaboration, craft, career development, and the stories that shape the people making today's music.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with country singer and songwriter Trey Calloway for a conversation about authenticity, tradition, performance, and the responsibility that comes with carrying country music forward.Trey grew up singing in church, where he learned early how music can bring people together. We talk about the influence of his Pentecostal upbringing, watching his father preach, and how those experiences shaped his instincts as an entertainer and his ability to connect with an audience. We also discuss the lessons he learned playing honky-tonks and working his way through the Myrtle Beach music scene.Trey explains why he wants his music to remain unmistakably country while still sounding current. He reflects on the influence of artists including George Jones, Garth Brooks, George Strait, Loretta Lynn, and Merle Haggard, as well as the Southern rock music of Lynyrd Skynyrd, The Marshall Tucker Band, and Molly Hatchet.We also dig into Trey's approach to songwriting. His songs explore working people, family, heartbreak, faith, redemption, and the lives he observes around him. Trey talks about drawing inspiration from conversation, writing about his father's life as a construction worker, and trying to create songs that hold a mirror up to ordinary experience.Trey also shares the story behind his recording of “Slide,” a song previously recorded by Gary Allan and written by Ross Ellis, Alex Kline, and Michael Whitworth. He explains why the song felt personal enough to become his own, the importance of honoring great outside songs, and why country music still needs strong relationships between singers and professional songwriters.Key TakeawaysTrey believes country music can honor its history while still sounding fresh, modern, and personal.Growing up in a Pentecostal church taught him how to communicate with an audience and make music feel communal.His years in the Myrtle Beach music scene taught him how to lead a band, manage production, run a show, and treat music as a business.Moving to Nashville required Trey to start over, accept a smaller role, and rebuild his career in a more competitive environment.Trey approaches songwriting as a way to observe people and turn conversations, family experiences, and everyday struggles into songs.Many of his working-class songs are inspired by his father, who spent his life in construction and other forms of physical labor.Recording “Slide” reinforced Trey's belief that a singer does not have to write a song to deliver it honestly and make it feel personal.Music from the EpisodeSlide - Trey CallowayAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with brothers Jesse and Noah Bellamy to talk about their outstanding new album, The Sunshine Shop, and what it means to build music around family, trust, and years of playing together. We discuss why recording with the same band they tour with gives the album its live energy, and how they found a studio environment that captured their sound without overproducing it. Our conversation naturally turns to family harmony, and the unique connection siblings share when they sing together. Jesse and Noah reflect on growing up surrounded by music, the influence of classic country, rock, soul, and gospel, and how artists like The Louvin Brothers, The Everly Brothers, Charlie Rich, Jerry Lee Lewis, Marty Robbins, and Don Williams continue to shape their musical identity. We also talk about life in Nashville, navigating the music business as members of the Bellamy family, and how their goals have evolved over time. Rather than chasing record deals or industry expectations, they've reached a place where they can simply make the music they believe in and let the songs lead the way. Along the way, we discuss memorable collaborations on The Sunshine Shop, including appearances from Tess Frizzell and Riders in the Sky, their songwriting process as brothers, and why they're already looking ahead to the next record while continuing to let this one find its audience. Key Takeaways Jesse and Noah intentionally recorded The Sunshine Shop with their touring band to preserve the chemistry and feel they had already developed on stage.  Family harmony comes naturally, but years of performing together refine phrasing, blend, and musical instincts.  Their influences stretch well beyond traditional country, drawing from soul, gospel, classic rock, and artists like Charlie Rich, Jerry Lee Lewis, Elvis Presley, Marty Robbins, and Don Williams.  Nashville—and the music industry itself—has changed dramatically since they arrived, leading them to focus more on artistic independence than industry expectations.  Collaborations with Tess Frizzell and Riders in the Sky grew out of genuine relationships and mutual respect for country music traditions.  Rather than scheduling formal co-writing sessions, both brothers write independently and allow the strongest songs to emerge naturally.  They're already preparing material for their next album while continuing to refine older songs through live performance. Music from the Episode I Told a Lie — Jesse & Noah BellamyAbout the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, composers, producers, and artists to explore the stories behind the music. Rather than focusing solely on career highlights, these conversations delve into creativity, collaboration, musicianship, songwriting, recording, performance, and the experiences that shape an artist's musical life.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Los Angeles-based singer, songwriter, guitarist, and music director Evan Zee for a conversation that begins with musical connection and quickly opens into something deeper. I first found Evan while researching for another interview, tracing a path from Larry Goldings to Lila Forde and then to Evan. That kind of chain reaction is one of my favorite things about this show, and in this case it led to a conversation about listening, community, faith, family, and the way music can widen a person's heart.We begin by talking about Evan's musical relationship with singer Lila Forde and how their collaboration grew out of church work, friendship, and time spent simply playing together. Evan reflects on the importance of “big ears” as a musician, the kind of listening that goes beyond technique and becomes a way of serving the song, the people around you, and the moment itself. What follows is one of my favorite kinds of conversations: one that starts with music but naturally opens into larger questions about how to live.From there, Evan speaks with real honesty about marriage, fatherhood, and how family life changed his voice, his art, and his sense of purpose. He describes becoming a parent before he felt ready, and how that experience forced him to confront fear, insecurity, and the need for growth in a way that ultimately deepened his artistic expression. It is a thoughtful and moving part of the conversation, and one that gets at something I care deeply about on this podcast: how life itself shapes the music.We also spend time talking about Evan's long history playing in church, from starting as a teenager to later studying at USC, moving to Los Angeles, and navigating his own spiritual unraveling and reconstruction. Today, as music director at a Presbyterian church in Santa Monica, he has built a creative community around intention, trust, and “the hang.” He shares how that environment led to a new record featuring close collaborators including Lila Forde, Misha, Carl McComas-Reichl, Miguel Atwood-Ferguson, Tom Frazier, and Darla, and why he wanted the session to feel playful, immediate, and alive.We close by talking about a powerful live performance in the wake of the Eaton fire, which displaced Evan and his family from their Altadena home, as well as his deep love for Joni Mitchell and the spiritual force he hears in her writing. This episode is about much more than career milestones. It is about listening as a musical value, as a human value, and as a way of moving through the world with greater presence.Key TakeawaysEvan Zee talks about why “big ears” may be one of the most important qualities a musician can have, both on and off the bandstand.He shares how his collaboration with Lila Forde grew out of church work, friendship, and hours of unpaid playing simply for the sake of getting better together.Evan reflects candidly on how marriage and fatherhood reshaped his artistry, deepened his voice, and changed the way he experiences music.He discusses his journey through faith, deconstruction, and a more expansive understanding of music as a spiritual practice.As a music director in Santa Monica, Evan has created a scene built around trust, intention, generosity, and what musicians call “the hang.”He gives insight into a new record built with a close-knit cast of players including Lila Forde, Carl McComas-Reichl, Miguel Atwood-Ferguson, Tom Frazier, Misha, and Darla.We also talk about Joni Mitchell, Pat Metheny, live performance after loss, and the role music can play in grief, healing, and community.Music from the EpisodeWarm and Right - Evan Zee (Live in LA)Never Leave a Moment - Evan ZeeLong Lost Lover - Evan Zee (Live in LA)Love - Evan Zee (Live in LA)About the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, songwriters, producers, and creative people for thoughtful conversations about craft, career, collaboration, and the experiences that shape a life in music. It is a show about process, humanity, and the stories behind the work.Connect with the Showcontact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Deer Fellow, the Austin-based duo of Alyssa and Matt, for a conversation about harmony, songwriting, production, and the creative life of a working independent band.Their new full-length album, Hues, is built around the idea of emotional color. We talk about how that concept developed, how songs from different points in their writing lives found a home together, and how video games, travel, nature, and everyday life all find their way into their creative process.Alyssa and Matt also talk about the practical and musical challenges of being a duo. Their sound is remarkably full, both live and on record, and we dig into how they use looping, synth, violin, guitar, vocals, and production choices to create something expansive without making it feel crowded.This conversation also gets into the reality of being full-time musicians in Austin: the gigs that pay the bills, the shows that feed the soul, the pressure of social media, and the persistence it takes to keep growing while staying connected to the music itself.Key Takeaways  • Deer Fellow began after Alyssa and Matt met at an open mic and discovered a natural vocal chemistry.  • Their album Hues is centered around emotional color and includes songs written across many different seasons of their lives.  • The song “Easier” was their first full song written together from start to finish.  • The album's “Between Shades” interludes are built from pieces of existing songs, highlighting vocals, violin, and guitar.  • Alyssa and Matt recorded the album at home, then sent the tracks out for mixing and mastering.  • The duo format has pushed them to become stronger arrangers, performers, and producers.  • Austin has challenged them professionally while also giving them community, grit, and access to support systems for working musicians.Music from the Episode  Fool For You - Deer FellowInvisible - Deer FellowBetween Shades (Part One) - Deer FellowBeautiful Grey - Deer FellowPep in My Step - Deer FellowHues - Deer FellowAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, composers, producers, and artists about craft, collaboration, creative process, musical identity, and the way music actually gets made.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with John Cowan, a musician whose voice has been part of my own musical memory since I first heard New Grass Revival as a kid at the Georgia Mountain Fair in Hiawassee, Georgia.John and I talk about his early influences, from Paul McCartney and Duck Dunn to Leon Russell, and how he developed as both a singer and a bass player. We also dig into the specific challenge of singing lead while holding down the low end, especially when the bass part and vocal line are moving in different rhythmic directions.The conversation moves through John's years with New Grass Revival, his deep admiration for Sam Bush's rhythm, and the way bluegrass taught him the power of simplicity. John also reflects on finding his own voice after years of being able to imitate other singers, and how joining New Grass Revival forced him to become himself as a vocalist.We also talk about his work with The Doobie Brothers, his respect for Tiran Porter's bass lines, singing harmony, working with Andrea Zonn, Luke Bulla, and The HercuLeons, and the gratitude that comes from a life spent standing beside remarkable musicians.Key Takeaways  • John reflects on the impact of New Grass Revival and how joining the band helped him discover his own voice.  • He talks about the challenge of singing lead while playing bass, especially when the bass line is syncopated.  • Paul McCartney, Duck Dunn, Leon Russell, Little Feat, Stevie Wonder, and Gregg Allman all shaped John's early musical world.  • Playing bluegrass taught John the beauty and power of simplicity.  • John describes Sam Bush as one of the greatest rhythmic forces in bluegrass music.  • His role with The Doobie Brothers gives him the chance to honor Tiran Porter's melodic and highly musical bass parts.  • John speaks openly about recovery, community, discipline, and the work of becoming a better person over time.Music from the Episode  Georgia Rhythm - John CowanDevil Woman - John CowanHold to a Dream - New Grass RevivalYou Plant Your Fields - New Grass RevivalTake Me to the Alley - The HerculeonsI'm Just Not Ready - John Cowan  About the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, composers, producers, and artists about craft, collaboration, creative process, musical identity, and the way music actually gets made.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer, songwriter, producer, studio builder, and longtime Austin music figure Hank Alrich for a conversation about songs, sound, family, and the long arc of a creative life.Hank talks about his early years as a working folk singer, his time building a recording studio inside Armadillo World Headquarters, and eventually taking the helm of that legendary Austin venue in the late 1970s. Along the way, he reflects on the kind of musical education that comes from being surrounded by country, blues, folk, jazz, funk, and experimental music all in the same room.We spend a good bit of time with Hank's album Broken River, especially the way it balances polish and looseness. Hank shares how he approaches recording with a live band, why he values trusted collaborators, and how his daughter Shaidri has become an essential musical voice in his work.This is a conversation about writing only when the song demands it, letting musicians play together in real time, and learning to respect the crack in the performance where the light gets in.Key Takeaways • Hank's first professional gig was as a house folk singer, playing six sets a night, seven nights a week. • His work at Armadillo World Headquarters gave him a broad musical education across folk, country, blues, jazz, funk, and beyond. • Broken River brings together songs from different periods of Hank's writing life. • Hank values live recording because of the human, almost metaphysical connection between musicians in the room. • His daughter Shaidri plays an important role as a harmony singer, collaborator, and trusted set of ears. • Hank sees production as a team effort, with every musician and engineer contributing to the final shape of the song. • The conversation explores the difference between perfection and completion in making records.Music from the EpisodeI Hate to See That Evening Sun Go Down - Hank AlrichThe Perfect Hat - Hank AlrichShe Had Whiskey For Dinner - Hank AlrichBroken River - Hank AlrichAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, composers, producers, and artists about craft, collaboration, creative process, musical identity, and the way music actually gets made.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with pianist, composer, producer, and sound designer Dave Mackay for a thoughtful conversation about musical identity, touring life, and the creative possibilities that live between composition, improvisation, and sound.Dave reflects on the strange rhythm of life on the road, especially after years of near-constant touring. We talk about the physical and emotional shift from playing for massive audiences to suddenly being home, and how that quiet space can bring a different kind of reflection. He speaks honestly about performance, nerves, and why playing the piano can feel natural while speaking into a microphone can still feel unnerving.We also trace his musical path, from early piano lessons in England to his studies in London and at Berklee College of Music in Boston. Dave shares how a perceptive childhood teacher encouraged him not just to learn music, but to develop his own voice. That thread carries through the entire conversation, from his improvisational instincts as a child to the way he builds sounds, writes records, and approaches collaboration now.A major part of our conversation centers on Dave's remarkable body of original work, including his Three trilogy:  L.A., Nashville, and Utopia, and his album The Looking Chamber. We talk about the influence of the Esbjörn Svensson Trio, the creative chemistry of working in a trio format, and how sound design and composition constantly inform one another in his music. Dave also shares why he prefers creating his own keyboard patches rather than relying on presets, and how his relationship with Nord keyboards grew out of that sonic curiosity.We close by talking about his work touring with Brandi Carlile, how that opportunity came together through Lucius, and why he remains passionate about live music that breathes naturally rather than being locked to click tracks and playback. It's a conversation about artistry, listening, taste, and learning how to trust your own instincts, both on stage and in the studio.Key TakeawaysDave talks candidly about the physical and emotional reality of life on tour, and why the transition back home can feel just as intense as the touring itself.He shares how improvisation has been part of his musical voice from the very beginning, even as a young piano student.Dave reflects on the importance of great teachers and how one early mentor helped him develop his own sound rather than imposing someone else's.We discuss the origin of his Three trilogy — L.A., Nashville, and Utopia — and how those records grew out of improvisation, friendship, and experimentation.Dave offers a fascinating look at sound design, explaining how creating his own patches and textures is integral to his compositional identity.He talks about touring with Brandi Carlile and why live music feels most alive to him when musicians listen and respond in real time.The conversation becomes a broader meditation on trust: trusting your ears, your collaborators, and the artistic choices that feel most like you.Music from the EpisodeAll the Same - Dave MackayHere in the Vastness - Dave MackayImpulse - Dave MackayProphecies - Dave MackayTrust Goddess - Dave MackayAbout the PodcastThe Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper musical ideas that shape their work. It's a show about process, perspective, and the stories behind a life in music.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with drummer, collaborator, and educator Eric Doob for a wide-ranging conversation about sound, taste, collaboration, and what it really means to make music in today's world. I first came across Eric's playing through his work on Live From Here with Chris Thile, and I've been a fan ever since. From the very beginning of our conversation, it's clear that Eric approaches music with a deep sense of curiosity and care, whether he's performing, recording, producing, or teaching.We spend time talking about his work with guitarist Matthew Stevens, including his role as both a drummer and a collaborator in shaping the sound of those records. Eric offers great insight into the importance of sonic identity, how the sound of the drums, the tuning, the cymbals, and even the engineer's perspective can shape the emotional core of a track. It's a thoughtful look at how sound itself becomes part of the composition.Our conversation also dives into collaboration and the idea of “taste” as a guiding force. Eric shares how the strongest musical relationships often come from a shared aesthetic sensibility rather than just technical ability. We talk about bands, chemistry, and the unspoken communication that happens when musicians are truly aligned.We also explore his path from growing up outside Boston to studying at Berklee College of Music and eventually building a life in New York. Along the way, Eric reflects on early musical experiences, the importance of access to live music, and how those formative years shaped his voice as a musician.Toward the end of the conversation, we get into teaching, creativity, and the challenges of making music in an age of constant distraction. Eric shares some really thoughtful perspectives on how access to everything can be both a gift and a challenge, and why focused listening and presence might be more important than ever.It's a conversation about listening, really listening, to music, to collaborators, and to the moment you're in.Key TakeawaysEric Doob discusses how sound—especially drum sound—can define the emotional identity of a track.He shares insights into his collaboration with Matthew Stevens and the importance of long-term musical relationships.We explore the idea that shared “taste” can be more important than technical ability in building great musical chemistry.Eric reflects on his early musical experiences growing up near Boston and the importance of access to live music.He talks about his evolving role in recording, producing, and shaping music beyond just playing drums.We discuss teaching and how working with students has deepened his own understanding of music.Eric offers a thoughtful perspective on modern music consumption, distraction, and the importance of focused listening.Music from the EpisodeTake Heart - Matthew StevensThree Card Molly - from Live From Here with Chris ThileEl Duelo - Diego Urcola QuartetTangled in the Endless Chain - Ryan Keberle & CatharsisAbout the PodcastThe Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper musical ideas that shape their work. It's a show about process, perspective, and the stories behind a life in music.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with bassist Tim Lefebvre for a conversation about groove, adaptability, tone, and what it really means to serve the music. Tim has built one of the most distinctive and wide-ranging careers in modern bass playing, with credits spanning jazz, rock, pop, experimental music, and singer-songwriter projects. From David Bowie's Blackstar to Tedeschi Trucks Band, Wayne Krantz, and countless sessions in between, Tim has become one of those rare players whose sound is unmistakable yet fits almost anywhere.We begin by talking about his 2026 so far, which includes recording work, short touring runs, a date with Nate Smith and Jason Lindner, upcoming shows in Italy with Tiziano Ferro, and a tour with Melissa Etheridge. From there, we get into one of the central tensions of a working musician's life: how to bring your own identity to a project while still honoring the artist, the songs, and the original recordings. Tim has strong instincts here, and he speaks with great clarity about choosing simplicity, resisting overplaying, and understanding what the music actually needs.One of my favorite parts of this conversation is hearing Tim talk about some of the landmark experiences in his career. We discuss the Bryan Adams tour, the joy of playing huge songs in front of large crowds, and then spend time on David Bowie's Blackstar, including how Tim approached the sessions, how much of the rhythmic language was already implied in Bowie's demos, and how some of the bass textures on songs like “Lazarus” emerged naturally in the room. Tim also reflects on the creative freedom and trust inside Tedeschi Trucks Band, and what it felt like to be part of a band that could take real improvisational chances in front of thousands of people.Along the way, we talk gear, compression, pedals, picks, strings, remote recording, favorite drummers, the differences between New York and Los Angeles, sobriety, and some of the bass players who shaped his ear early on, including James Jamerson, Paul McCartney, Darryl Jones, Marcus Miller, Victor Bailey, Jaco Pastorius, and Tony Levin. This is a conversation about craft, but also about judgment, restraint, and learning to make the right choice in the moment.Key TakeawaysTim Lefebvre talks about balancing personal identity with the responsibility of serving the artist, the arrangement, and the song.He shares stories from the making of David Bowie's Blackstar, including how parts of “Lazarus” developed in the studio.Tim reflects on the musical and emotional intensity of playing with Tedeschi Trucks Band and the freedom that the group allowed onstage.He discusses his early path from saxophone to bass, his father's influence, and learning on real gigs at a young age.The conversation explores how bass playing varies with the drummer and what Tim listens for when locking in with someone new.Tim also gets into gear, including pick playing, flats versus rounds, bass compression, distortion, reverb, and how pedals can shape creative ideas.We talk openly about sobriety, professional growth, and how life experience changes the way a musician shows up on and off the bandstand.Music from the EpisodeAnyhow - Tedeschi Trucks BandShake Loose - Donny McCaslinIt's No Fun Not to Like Pop - Krantz/Carlock/LefebvreHanging On - KnowerBlackstar - David BowieAbout the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, songwriters, producers, and creative people for thoughtful conversations about craft, collaboration, career, and the experiences that shape a life in music. It is a show about process, perspective, and the human side of making art.Connect with the Showcontact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with the extraordinary Wendy Moten for a conversation about longevity, versatility, professionalism, and the many different ways a singer can build a meaningful life in music. Wendy has one of those careers that musicians know and revere: a major-label artist in the 1990s, a world-class touring vocalist, a sought-after session singer, a member of the Grammy-winning Time Jumpers, a regular performer on the Grand Ole Opry, and, more recently, a powerful presence for a new generation of listeners through The Voice. What struck me most in this conversation is how clearly she understands her craft, her purpose, and the discipline required to sustain both.We begin by talking about the busy season she is in now, balancing solo work, sessions, weekly performances with the Time Jumpers, and another major tour with Vince Gill. Wendy shares the story of how Vince first called her out of the blue after her run with Martina McBride had ended, and how that invitation opened an entirely new chapter in her career. From there, we get into what she calls her “version of country music,” and how she found it not by imitating the genre, but by studying its history, listening closely, and finding an authentic way to bring herself into the tradition.One of my favorite parts of the conversation centers on harmony singing and what it really means to support another artist. Wendy talks beautifully about what she learned during 15 years as Julio Iglesias's duet partner, including how to listen, how to match breath and phrasing, how to stay out of the way, and how to make someone else sound even better. She says she was “getting paid for self-control,” which is one of the best descriptions of professional background singing I have ever heard. That whole section of the conversation is full of insight for anyone who cares about what it means to serve the music at a very high level.We also talk about church, family, and the support system that made her life in music possible. Wendy reflects on growing up in Memphis, singing in church, and learning early how to stand in front of people, even when she was shy and uncomfortable. She shares how much her parents sacrificed to create opportunities for her and her siblings, and how much those sacrifices still mean to her now. We also spend time talking about her Grand Ole Opry appearances, including the emotion of making her Opry debut without her parents there to see it, and the significance of standing on that stage as a Black woman in a space where history has not always made room for everyone.Along the way, we get into her years at EMI, the pressure to be shaped into whatever version of success the label wanted at the time, and the freedom she eventually found by building a career outside the usual boxes. Wendy talks openly about not needing fame in the conventional sense, about loving the role of underdog, and about continuing to surprise people. This is a conversation about singing, certainly, but also about resilience, humility, excellence, and how to remain generous and grounded across four decades in music.Key TakeawaysWendy Moten reflects on building a career across pop, country, jazz, Americana, sessions, television, and touring without being confined to one lane.She shares how 15 years with Julio Iglesias taught her phrasing, breath, dynamics, communication, and the art of listening more deeply.Wendy talks about singing with Vince Gill and the Time Jumpers, and how she developed her own authentic relationship to country music.She offers a sharp and memorable perspective on background vocals: great harmony singing requires self-control, consistency, and leaving your ego at home.The conversation explores how the church shaped her confidence, artistry, and ability to recover from mistakes in front of an audience.Wendy also reflects on The Voice, why she chose to do it, and how it introduced her to a new audience without diminishing everything that came before it.We discuss the Grand Ole Opry, the emotional weight of her debut, and the significance of taking up space in a tradition that has not always been inclusive.Music from the EpisodeOde to Billy Joe - Wendy MotenDon't Touch Me - Wendy MotenDriving Nails in My Coffin - Wendy MotenFaithless Love - Wendy Moten (with Vince Gill)About the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, singers, songwriters, producers, and creative people for thoughtful conversations about craft, career, collaboration, and the life experiences that shape the music. It is a show about artistry, process, and the human side of a life in music.Connect with the Showcontact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with legendary percussionist Luis Conte for a conversation that goes far beyond music, into life, freedom, faith, and the deep roots of rhythm.  Luis has played with just about everyone, from James Taylor to Pat Metheny, and has been a defining voice in modern percussion for decades. But what struck me most in this conversation is not just what he's played, it's how he thinks about music and where it comes from.We begin with where he is today, working out of his home studio and navigating the modern recording world. Luis strikes a balance between convenience and connection, the trade-off between recording alone and the magic that happens when musicians are in the same room together.  From there, we get into one of my favorite parts of the conversation: the relationship between drummer and percussionist. Luis has such a simple and powerful philosophy: don't overthink it. Listen. Let the music tell you what to play. It's a reminder that great musicianship is often about awareness, not complexity.Luis then shares his incredible personal story, growing up in Cuba, being immersed in music from an early age, and eventually leaving the country as a teenager. What follows is a story of sacrifice, resilience, and ultimately freedom. His reflections on that experience are deeply moving and provide valuable context for the way he approaches music and life.We also talk about his journey into the Los Angeles music scene, the importance of relationships, and what it really takes to build a career: not just playing well, but being someone people want to be around. Along the way, he shares stories about working with some of the greats, including the late Carlos Vega, whose impact on musicians runs deep.  Toward the end, we get into his work with Pat Metheny and the idea of trusting great musicians to bring their own voice to the music. It's a theme that runs throughout the entire conversation. Music isn't something you force; it's something you respond to.This is a conversation about feel, about listening, and about the life experiences that shape the way we play.Key TakeawaysLuis Conte explains why listening, not thinking, is the foundation of great percussion playing.He shares the nuanced role of a percussionist alongside a drummer and how to complement the music.Luis reflects on his journey leaving Cuba and the profound meaning of freedom in his life and career.We discuss how early musical exposure shaped his instincts long before formal training.Luis emphasizes that relationships, attitude, and reliability are just as important as musicianship.He shares stories about Carlos Vega and what made him such a special musician.Luis talks about working with Pat Metheny and the importance of trusting artists to bring their own voice.Music from the EpisodeSantiaguero - Ropa Vieja ft. Luis Conte & San MiguelLa Aguita - Ropa Vieja ft. Luis Conte & San MiguelAmerica Undefined - Pat MethenyAbout the PodcastThe Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper musical ideas that shape their work. It's a show about process, perspective, and the stories behind a life in music.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with conductor, composer, and longtime contemporary music advocate Brad Lubman for a wide-ranging conversation about interpretation, rehearsal, composition, and the deeper responsibilities of making music with other people.Brad first came onto my radar through his work conducting Steve Reich's music, but this conversation quickly opened into something much larger. He talks about the way audiences often associate him with Reich's music, while reminding us that he had already built a substantial life in new music long before that connection began. From there, we get into a fascinating discussion about what conductors actually do, and why he resists the idea that great conducting is about imposing personality on a score. For Brad, the work begins with the composer's intentions and the discipline of bringing those intentions to life as clearly and honestly as possible.We also spend time on Brad's path as both a percussionist and a conductor, including how his early love of drums and rock music, and later of orchestral music, shaped the musician he became. He reflects on what percussion taught him about immediacy, time, and gesture, and how those lessons still inform the way he teaches conductors today. His thoughts on rehearsal are especially compelling: the idea that a conductor's role is not to dominate but to create conditions in which musicians can play with confidence, clarity, and artistry.A particularly rewarding part of this conversation centers on Brad's own music, especially his powerful piece Tangents for two pianos and two percussionists. He shares the origin of that work, how it emerged during a moment when he was considering stepping away from composition, and why it marked the beginning of a new phase in his musical language. We also talk about his long association with Steve Reich, Ensemble Signal, and the kinds of life-changing moments that can come from simply doing your work well and being ready when the right people are listening.By the end of the conversation, what comes through most clearly is Brad's seriousness of purpose and his belief in music as a communal act. Whether he is conducting, composing, teaching at the Eastman School of Music, or building programs with Ensemble Signal and major orchestras around the world, he approaches music with precision, humility, and an unwavering sense of service to the score and the people making it.Key TakeawaysBrad Lubman offers a thoughtful distinction between “interpretation” and serving the composer's intentions, arguing that great conducting begins with fidelity to the score rather than ego.He explains why so much of what audiences hear as a conductor's influence is actually shaped in rehearsal, not just in performance.Brad reflects on how his background as a drummer and percussionist sharpened his sense of time, touch, and physical gesture.We talk in depth about his piece Tangents and why that work marked a turning point in his life as a composer.Brad shares how key moments in his career — including his connection to Steve Reich and the New York premiere of City Life — came through preparation, reputation, and musical trust.He discusses the communal nature of orchestral music-making and his belief that an ensemble can model cooperation at the highest level.The conversation concludes with a look at his current work as a teacher, conductor, composer, and advocate for contemporary music worldwide.Music from the EpisodeMusic for 18 Musicians (Pulse) - Steve Reich (Ensemble Signal - Brad Lubman, Conductor)Radio Rewrite (I. Fast) - Steve Reich (Ensemble Signal - Brad Lubman, Conductor)Double Sextet (I. Fast) - Steve Reich (Ensemble Signal - Brad Lubman, Conductor)Tangents - Brad Lubman (Icaras Quartet)About the PodcastThe Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, conductors, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper ideas that shape their work. It's a show about process, perspective, and the stories behind a life in music.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Mark Kibble of Take 6, a group whose music has been part of my life since the very beginning of my musical journey.   We start with a full-circle moment, me seeing Take 6 live as a teenager, and now getting to sit down and talk with Mark about his career, his process, and the music that continues to inspire him.We begin with his work on Pat Metheny's latest project, in which Mark contributed vocal arrangements that add an entirely new dimension to Pat's sound. Mark walks through the process, receiving tracks, interpreting harmonic language, and building a choir sound that fits seamlessly into a complex musical landscape.   From there, we zoom out and talk about what it means to be a collaborator, how Mark approaches working with other artists, what he listens for, and how he balances his own voice with the music's needs. His perspective is simple but profound: it's not about him. It's about making the music better.We spend time reflecting on the longevity of Take 6, how a group can stay together for decades, navigate challenges, and still maintain both musical excellence and deep personal relationships. Mark shares that their foundation goes far beyond music; it's rooted in purpose, faith, and a genuine commitment to each other as family.  We also talk about influence, how artists like Jacob Collier are carrying the torch forward, and how meaningful it is to see a new generation connect with the music that Take 6 has been making for decades.There are some great moments of reflection, too, working with legends like Joe Sample, collaborating with Lalah Hathaway, and the challenge (and joy) of continuing to grow as a vocalist over time.  We also get into vocal health, longevity, and what it takes to sustain a career at the highest level—physically, mentally, and creatively.This is a conversation about harmony in every sense of the word: musical, personal, and spiritual.Key TakeawaysMark Kibble breaks down how he approached arranging vocals for Pat Metheny's latest project.He shares why collaboration is about serving the artist—not showcasing yourself.The longevity of Take 6 is rooted in purpose, faith, and treating each other like family.Mark reflects on the group's influence on artists like Jacob Collier.Great arranging is about fitting into the music—not competing with it.Vocal longevity requires discipline, rest, and learning how to pace yourself.Coaching others reinforced the importance of finding your own authentic voice.Music from the EpisodeBiggest Part of Me - Take 6Don't Look Down - Pat MethenyU-Turn - Joe Sample with Take 6Someday We'll All Be Free - Take 6 with Lalah HathawayCome Unto Me - Take 6About the PodcastThe Bandwich Tapes is my chance to sit down with musicians, composers, and creative artists for honest conversations about the craft, the process, and the stories behind the music. It's about digging deeper—into how great music gets made and the people who make it.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down in person with drummer Joe Dyson, the first in-person conversation I've recorded for the show, and it couldn't have been with a better musician or person.  Joe is currently on the road with Pat Metheny, and we talk about the experience of being inside that music night after night, how the band continues to grow, how chemistry develops on the road, and what it truly means to live inside the music.We begin at the very beginning, Joe's earliest connection to the drums, growing up in church, watching his family play, and learning through imitation long before formal instruction. That foundation, playing with purpose, listening deeply, and serving something larger than yourself, continues to shape everything he does today.  From there, we dive into the cultural impact of growing up in New Orleans and the moment Joe realized just how unique that musical environment is. His reflections on culture, identity, and the preservation of tradition are powerful and deeply personal.One of the most meaningful parts of this conversation centers around mentorship, specifically his relationships with Alvin Batiste and Donald Harrison. Joe shares incredible stories about how these mentors shaped him, not just musically, but philosophically, and how their lessons continue to reveal themselves years later.  We also spend time talking about listening, not just as a musical skill, but as a life skill. Joe makes a compelling case that listening is at the center of everything: collaboration, groove, communication, and even being a better human being.We get into his artistic philosophy, how he balances honoring the lineage of great drummers like Elvin Jones, Roy Haynes, and Philly Joe Jones while still pushing forward creatively. His perspective on imitation, emulation, and innovation is something every musician can learn from.Joe also shares the incredible (and almost missed!) story of how he connected with Pat Metheny, starting with an email he nearly ignored, and what it's like working with an artist of that level in both live and studio settings.We wrap up by talking about his debut album, Look Within, and how stepping into the role of a bandleader changed his perspective, not just musically, but also in how he approaches collaboration and supports other artists.This is a conversation about growth, humility, and the lifelong process of becoming a musician.Key TakeawaysJoe Dyson explains why listening is the most important skill a musician can develop—on and off the stage.He shares how growing up in church shaped his sense of purpose and connection to music.Joe reflects on the unique cultural identity of New Orleans and its lasting influence on his playing.He discusses the profound impact of mentorship from Alvin Batiste and Donald Harrison.Joe breaks down the process of musical growth: imitation → emulation → innovation.He tells the story of nearly ignoring the email that led to working with Pat Metheny.Leading his own band gave him a deeper respect for collaboration and the responsibilities of being a bandleader.Music from the EpisodePious Walk - Joe DysonForward - Joe DysonFleeting Faith - Joe DysonIn On It - Pat Metheny Side Eye IIINaysayers - Joe DysonAbout the PodcastThe Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, and the deeper musical ideas that shape their work. It's a space to explore process, perspective, and the human side of a life in music.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with percussionist and educator Shawn Galvin for a wide-ranging conversation about orchestral life, teaching, and the deeper thinking behind great musicianship. I first learned about Shawn through my son Skyler, who studied with him at LSU, so this conversation felt especially meaningful for me.We begin by talking about Shawn's approach to teaching and how he balances technique with musicality. His philosophy is simple but powerful: musical intent should always lead the way. Instead of practicing technique in isolation, Shawn encourages students to pursue musical ideas first—and then let the technical work follow to serve those ideas.From there, we dig into orchestral percussion itself, how the role of percussionists continues to evolve, and how skills like drum set playing have increasingly become part of the orchestral vocabulary. Shawn shares fascinating insights into audition repertoire, why certain excerpts appear on audition lists, and how percussionists today must be prepared for a wider range of musical demands than ever before.We also spend time on Shawn's own musical lineage. Growing up in western Pennsylvania with a father who was both his band director and percussion teacher gave him an early immersion in music education. Later, studying with legendary Pittsburgh Symphony timpanist Stanley Leonard became a foundational experience that shaped the way he thinks about sound, tone production, and the role of percussion in the orchestra.One of my favorite parts of this conversation is hearing Shawn talk about timpani as a gateway into orchestral thinking. Because timpani sits inside the harmonic and structural core of so much orchestral repertoire, studying it opens a deeper understanding of how orchestras actually function musically. That perspective carries into everything from bass drum sound production to phrasing inside the orchestra.We also explore the many dimensions of Shawn's career—from his years performing with the Pittsburgh Symphony Orchestra to his work with the North Carolina Symphony, his teaching at LSU, and his leadership role with the Spoleto Festival Orchestra, where he helps audition and mentor the next generation of orchestral musicians.This is a thoughtful conversation about musicianship, mentorship, and the long arc of a life spent in music.Key TakeawaysMusicality should lead technique — technical work becomes more meaningful when it serves a clear musical idea.Orchestral percussion continues to evolve — drum set and broader stylistic fluency are now part of many orchestral expectations.Studying timpani deepens understanding of the orchestra — it connects percussionists directly to the harmonic and structural core of the repertoire.Great teachers shape more than musicians — the process of learning music develops discipline, listening, and collaboration skills that transfer far beyond music.Mentorship matters — Shawn's studies with Stanley Leonard helped shape his musical thinking and approach to teaching.Professional musicianship requires adaptability — orchestral players must be ready for a wide range of tempos, conductors, and interpretations.Music careers can take many forms — performing, teaching, and arts leadership can all intersect in meaningful ways.Music from the EpisodeQueen - Molly Joyce (Shawn Galvin, percussion)Five Gestures - Brett William Dietz (Shawn Galvin, snare drum & LSU Hamiruge Percussion Ensemble - Dr. Brett Dietz, conductor)Letter from Home - Pat Metheny Group (Shawn Galvin, vibraphone)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 Michael Bacon for a conversation that moves naturally through songwriting, teaching, film scoring, orchestration, and the long arc of a creative life.Michael reflects on the musical education that shaped him, both formal and informal. He talks about returning to Lehman as an adult to fill in gaps in theory, harmony, counterpoint, and music history, and about the profound influence of composer John Corigliano. We also dig into Michael's early life in Philadelphia, where public school music programs, orchestral experiences, folk music, and an extraordinary listening environment at home all helped form his wide musical palette.One of my favorite parts of this conversation is hearing Michael talk about range: why he is drawn to music that can be beautiful, unsettling, lyrical, loud, delicate, and emotionally direct all at once. That idea connects everything he does, from songwriting with The Bacon Brothers to his work as a film composer and orchestrator. He has no interest in staying in one narrow lane, and that comes through clearly in the way he describes both his influences and his process.We also spend time on collaboration: co-writing in Nashville, writing with his brother Kevin Bacon, adding Mayer to the band, and the trust required to make any long-running musical partnership work. By the end of the conversation, what stands out most is Michael's clarity about what sustains a creative life: deep listening, family support, musical curiosity, and the willingness to keep showing up for the work.Key TakeawaysMichael Bacon balances multiple musical identities: songwriter, film composer, educator, orchestrator, and performer.He studied at Lehman College, and his time with John Corigliano helped strengthen the technical foundation behind his creative instincts.Growing up in Philadelphia, surrounded by music at home and in public school programs, had a lasting impact on his musical language.His values range in music—beauty, tension, melody, fear, dynamics, and emotional contrast all matter to him as a composer.His songwriting process differs depending on the setting, from structured Nashville co-writes to more personal, experience-driven songs.Collaboration in The Bacon Brothers works because Michael and Kevin bring different strengths, influences, and instincts to the same songs.Writing for orchestra remains one of Michael's deepest creative joys, especially when he can bring that world into live performance.Music from the EpisodePut Your Hand Up - The Bacon BrothersAirport Bar - The Bacon BrothersPeople in the World - The Bacon BrothersAbout the PodcastThe Bandwich Tapes is a podcast hosted by me, Brad Williams, featuring thoughtful conversations with musicians, songwriters, composers, and artists about craft, creativity, collaboration, and the stories behind the music.Connect with the ShowEmail: contact@thebandwichtapes.com

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