All Episodes

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 Podcast The 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 Show Questions, 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 Podcast The 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 Show Questions, 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 Podcast The 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 Show Email: 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 Podcast The 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 Show Email: 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 Podcast The 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 Show Email: 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 Podcast The 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 Show Questions, 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 Podcast The 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 Show Email: 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 Podcast The 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 Show Email: 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 Podcast The 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 Show Questions, 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 Podcast The 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 Show Questions, 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 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 Podcast The 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 Show Email: 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 Podcast The 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 Show Email: 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 Show The 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 Show Email: 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 Show Email: 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 Podcast The 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 Show Email: 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 Podcast The 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 Show Email: 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 Podcast The 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 Show Email: 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 Podcast The 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 Show Email: contact@thebandwichtapes.com