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On this episode of The Bandwich Tapes, I sit down with drummer, recording engineer, and educator Joel Rosenblatt for a conversation that goes well beyond drumming. Joel has spent his career moving between remarkably different musical environments, including Michel Camilo, Spyro Gyra, Pure Prairie League, Blood, Sweat & Tears, Broadway productions including In the Heights and Hamilton, and countless recording sessions. We talk about the experiences that shaped Joel as a musician, including stepping into Michel Camilo’s band after a recommendation from Dave Weckl and suddenly finding himself in a rhythm section with Anthony Jackson. Joel shares what he learned about pocket, feel, and playing inside a great arrangement, and how those lessons changed when he joined Spyro Gyra and had to learn how to help build an entire musical arc over a vamp. Joel also takes me inside the making of Spyro Gyra’s live album Road Scholars, his approach to playing with percussionists, and why hearing everyone onstage is essential to being a good ensemble musician. We get into his time with Pure Prairie League, where a very different kind of music taught him about feel, simplicity, and connecting with an audience. We also talk about Joel’s work as a recording engineer and how working on the other side of the glass changed the way he hears his own playing. From recording drums at home to performing Broadway shows such as In the Heights, Mamma Mia!, On Your Feet!, and Hamilton, Joel explains why professionalism sometimes means bringing your personality to the music—and other times means playing exactly what the music requires. Most importantly, this becomes a conversation about identity and change. Facing significant back problems and uncertainty about whether he will be able to continue playing drums, Joel speaks candidly about what happens when the thing you have done for most of your life may no longer define what comes next. We talk about career transitions, relationships, aging, creativity, and the possibility that a musician's next chapter can look very different without being any less meaningful. Key Takeaways Joel explains how playing with Anthony Jackson reshaped his understanding of pocket and the role of the rhythm section. His transition from Michel Camilo to Spyro Gyra required learning how to create musical development over vamps rather than relying on the composition to provide the entire arc. Joel discusses the making of Spyro Gyra’s Road Scholars and why he personally listened through recordings from dozens of shows to help choose the performances used on the album. Great ensemble playing begins with listening. Joel explains why he wants to hear the entire band in his monitors rather than focusing only on his own instrument. Recording and engineering exposed details in Joel’s own playing and helped refine his relationship with time, feel, and the click. Broadway taught him a different kind of musicianship: respecting the written part, eliminating ego, and delivering the performance the production requires every night. Joel reflects candidly on physical limitations, aging, musical identity, and the difficult yet potentially rewarding process of reinventing oneself when life forces change. Music from the Episode Heart of the Night - Spyro Gyra Why Not - Michel Camilo Trio Shaker Song - Spyro Gyra No Strings Attached - Double B Double V About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. Hosted by musician Brad Williams, the show features conversations with artists, songwriters, producers, engineers, and other creative people about their careers, craft, collaborations, influences, and the realities of a life spent making music. Connect with the Show Questions, comments, or guest suggestions? contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with South Carolina country artist Kile Antone for a conversation about music, songwriting, faith, identity, and finding your way back to something you thought you had left behind. Kile’s path to country music has been anything but conventional. He began playing guitar as a teenager, but life eventually took him into law enforcement, ministry, and work as a paramedic. For nearly 30 years, he rarely performed country music in public. Then, a few years ago, he walked into an open mic with his guitar, so nervous he was physically shaking, and sang a few songs. That night started a new chapter. We spend a lot of time talking about how those years away from the stage now inform Kile’s songwriting. His song “Drink Some More” grew from a late-night message from someone going through a difficult moment and Kile’s own memories of growing up in a home affected by alcoholism and violence. We talk about protecting the people behind a song while still preserving its emotional truth, why a song doesn’t have to follow a prescribed structure, and how country music can say an enormous amount with very little. The conversation also moves into more personal territory as Kile talks about separating who he is from the roles he has occupied throughout his life. He shares a powerful story about being asked by a counselor, “Who is Kile Antone?” and realizing that pastor, police officer, and paramedic were answers to what he did—not who he was. That leads us into a discussion about music as a place where he can simply be himself, and about how age and perspective can change the reasons we make music in the first place. We also talk about performing solo versus playing with a band, learning to read a room, his Open Range Band and Stormfront Band, and the new opportunities that have emerged through his friendship and work with country artist Leon Everett. Kile also shares what’s ahead, including his first album, original songs, a duet with Leon Everett, and his recording of George Strait’s “Christmas Cookies.” Key Takeaways • Kile returned to performing country music after nearly 30 years away from the public stage, beginning with three songs at a local open mic. • His experiences in law enforcement, ministry, and emergency medicine have given him a deep reservoir of real-life stories and emotions to draw from as a songwriter. • “Drink Some More” was written in roughly 30 minutes after Kile received a late-night message from someone dealing with the consequences of alcohol and conflict. • Kile believes in protecting the identities of the people who inspire his songs while remaining faithful to the emotional truth of their stories. • His unconventional journey back to music has become as much about rediscovering his identity as it is about building a career. • Performing has given Kile an outlet separate from the weight and responsibility that have accompanied much of his professional life. • His growing musical career includes solo performances, the Open Range Band, Kile Antone and the Stormfront Band, recordings with Leon Everett, and work toward his first full album. Music from the Episode Drink Some More - Kile Antone   About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape the way they make it. I sit down with musicians, songwriters, producers, engineers, and other creative people for conversations about craft, collaboration, careers, influences, and the stories behind the music. Connect with the Show Questions, comments, or guest suggestions?  Reach out at contact@thebandwichtapes.com.

On this episode of The Bandwich Tapes, I sit down with James Woods for a conversation centered on a part of his creative life that may surprise people who primarily know him as an actor: songwriting. James talks about the remarkable burst of creativity that has produced more than 75 songs and a series of concept albums created alongside Shooter Jennings and Bob Wayne. We dig into his upcoming album, The Killer’s Wife, the single “The Hearts of Men,” and the real-life experience that became the starting point for the album’s fictional story. What interested me most was the difference James sees between acting and songwriting. As an actor, he spent decades interpreting someone else’s words and vision. Songwriting has given him the opportunity to begin with a blank page and say exactly what he wants to say. We talk about writing quickly, trusting instinct, revising individual words until they feel right, and what happens when a song seems to arrive almost fully formed. James also takes us inside the collaborative process with Shooter Jennings, Bob Wayne, and the musicians who bring these records to life. He describes watching players hear a song, make a chart, and begin shaping the music almost immediately — and how their individual choices can transform the emotional meaning of something he originally wrote alone. Ultimately, this is a conversation about creative second acts. James reflects on finding a new artistic path later in life, writing from personal experience, creating his own record label, and why he believes artists should look for ways to retain control of their work. For someone who spent much of his career bringing other people’s stories to life, songwriting has become an opportunity to finally tell his own. Key Takeaways • James Woods has written more than 75 songs and describes songwriting as an unexpected creative outpouring that emerged later in his life. • He sees a fundamental difference between acting and songwriting: acting is interpretive, while songwriting allows him to originate the words, ideas, and perspective himself. • His collaboration with Shooter Jennings began during the COVID era and eventually expanded to include Bob Wayne, with whom Woods developed an unusually fast and productive writing partnership. • Concept albums have become central to Woods’ approach. Rather than treating songs as isolated pieces, he likes creating records connected by characters, ideas, imagery, and narrative themes. • The Killer’s Wife grew from an experience Woods had as a young man, but he transformed that memory into a fictional narrative rather than attempting to document the actual people involved. • Woods places enormous value on the contributions of musicians in the studio, describing how players such as Aubrey Richmond, Jamie Douglass, John Schreffler Jr., and Ted Russell Kamp can dramatically reshape a song through instinctive musical choices. • Woods views this period as a creative second act and hopes his independent approach to making and releasing music can encourage other artists to find ways to maintain greater control of their work. Music from the Episode Song - Artist About the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. Hosted by musician Brad Williams, the show features conversations with artists, songwriters, producers, composers, and other music professionals about their careers, creative processes, collaborations, influences, and the craft behind 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 drummer and educator Nate Morton for a wide-ranging conversation about musicianship, preparation, versatility, listening, and the skills that build a career long after you leave the practice room. Nate is best known to many listeners as the drummer for NBC’s The Voice, a gig that requires him to move effortlessly between rock, pop, country, R&B, blues, and just about anything else that lands on the music stand. We talk about how a childhood filled with everything from KISS and Michael Jackson to George Clinton, the Beatles, the O’Jays, the Temptations, Barry White, and Booker T. & the M.G.’s helped build that musical vocabulary. Nate explains why his goal was never to become the “rock guy” or the “jazz guy.” He wanted to become the always-employed guy. But much of our conversation is about what happens beyond the notes. Nate and I dig into preparation, organization, punctuality, adaptability, and musicians' responsibility to the people around them. He shares lessons from his time at Berklee College of Music, including the realization that learning what not to play can be just as important as developing the ability to play. A story about watching Abraham Laboriel Jr. take a four-bar solo becomes a lesson in confidence, restraint, and musical maturity. We also delve deeply into the relationship among drums, bass, singers, and the rest of the band. Nate explains how he adjusts his playing to different vocalists, why listening matters more than showing off, and how his relationship with bassist Sasha Krivtsov on The Voice allows the rhythm section to constantly react and adapt to one another. His philosophy is simple: the band only sounds good when everyone sounds good. Along the way, we talk about teaching, technology, learning music before everything was a click away, the value of relationships, and why small interactions can have an enormous impact on another musician. This one became much more than a conversation about drumming. It’s about professionalism, curiosity, generosity, and what it actually takes to build a life in music. Key Takeaways Preparation extends far beyond practicing your instrument. Being on time, organized, dependable, adaptable, and respectful of other people’s time can be as important to a career as technical ability. Versatility creates opportunity. Nate intentionally developed enough vocabulary across multiple styles to walk into different musical situations comfortably. His goal was to become the “always-employed guy.” Listening is one of the most important skills on the bandstand. Whether working with a singer, bassist, guitarist, or an entire ensemble, Nate constantly adjusts his playing according to what everyone else is doing. Great musicians know when not to play. Nate’s story about Abraham Laboriel Jr. at Berklee illustrates how confidence and restraint can communicate more than filling every available space. Adaptability matters more than perfect circumstances. From forgotten floor tom legs to unfamiliar backline setups, Nate learned that sometimes you simply have to “sit down and make music.” Music school can give you tools, but the real world teaches you where to use them. Berklee gave Nate technical vocabulary and a safe environment to make mistakes, while professional gigs taught him context, restraint, and musical judgment. Relationships matter. Nate sees genuine human interaction as one of the central principles of both his career and his life, whether he is working with another musician, teaching a student, or answering a question from someone who reaches out online. Music from the Episode I Think I Just Said That - Fraud Prophets Scrubs - Fraud Prophets Homer's Journey - Fraud Prophets Moths and Mosquitoes - Fraud Prophets About the Podcast The 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 Show Questions, comments, guest suggestions, or just want to say hello? contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with legendary drummer Joey Baron for one of the most thoughtful conversations I’ve ever had about what it truly means to make music. Rather than talking about chops or technique, Joey takes us deep into the ideas of touch, tone, sound production, and why a musician’s relationship with space is just as important as the notes they choose to play. We explore Joey’s remarkable career, from growing up in Richmond, Virginia, to studying briefly at Berklee before learning on the bandstand alongside musicians like Joe Lovano and John Scofield. He shares stories about playing with Carmen McRae, Bill Frisell, John Abercrombie, Jim Hall, David Bowie, Laurie Anderson, Brian Eno, Steve Kuhn, and many more, but what emerges isn’t a collection of famous names. It’s a philosophy of listening deeply and serving the music above everything else. Our conversation also dives into the pursuit of personal sound. Joey explains how losing all of his cymbals early in his career unexpectedly changed the way he thought about instruments, leading him to focus less on equipment and more on touch, tone, and expression. Along the way, we discuss why great musicians sound like themselves regardless of the instrument they’re playing, why the best artists never waste notes, and how silence can often communicate more than virtuosity. It’s a conversation about listening, not just to music, but to people, spaces, and the world around us—and why that kind of attention remains one of the greatest gifts a musician can develop. Key Takeaways Joey explains why touch and sound production matter more than technical ability or expensive instruments. We discuss how tuning drums is influenced by the acoustics of each performance space rather than fixed settings. Joey shares lessons learned from artists including Carmen McRae, Jim Hall, John Abercrombie, Steve Kuhn, Bill Frisell, David Bowie, Brian Eno, and Laurie Anderson. Losing his cymbals early in his career forced him to rethink his relationship with equipment and focus on creating sound from whatever instruments were available. Joey reflects on why great musicians never waste notes and how silence is often one of music’s most powerful tools. We explore the value of musical curiosity beyond genres and why listening broadly shaped his artistic voice. Joey discusses his current work in Europe and why creating music that genuinely moves people remains his guiding purpose. Music from the Episode Faith in You - Marc Johnson You Bet - John Scofield Just You, Just Me - Joey Baron & MixMonk Outside - David Bowie About the Podcast The Bandwich Tapes is a long-form interview podcast where I sit down with musicians, composers, producers, and music industry veterans to explore the creative decisions that shape great music. Together we dig into artistry, collaboration, musical philosophy, and the experiences that define a lifetime of making music. Connect with the Show Email: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with acclaimed percussionist Joby Burgess for a fascinating conversation about life as one of the world’s most in-demand recording musicians. From film scores and orchestral performances to contemporary classical music and solo projects, Joby shares what it really means to build a career grounded in versatility, collaboration, and an endless curiosity about sound. We talk about the unique challenges of being a modern percussionist, where every project might require a completely different set of instruments, techniques, and musical vocabulary. Joby explains how he prepares for sessions, why he thinks of collections of percussion instruments as a single musical voice, and how years of experience have taught him to focus on melody, phrasing, and storytelling rather than simply striking objects. Our conversation also explores the creative process behind recording major film scores, including his work with Ludwig Göransson on The Odyssey. Joby offers a rare behind-the-scenes look at how composers, producers, engineers, and percussionists collaborate to discover sounds that often don’t yet exist. From bringing collections of gongs into the studio to improvising solutions with whatever objects are nearby, every recording session becomes an exercise in creative problem-solving. Along the way, we revisit the music that shaped Joby’s artistic path, including Stravinsky, Frank Zappa, Edgard Varèse, and contemporary composers such as Steve Reich and Morton Feldman. It’s a conversation about listening deeply, embracing collaboration, and discovering that a great percussionist is often as much a musical problem solver as a performer. Key Takeaways Joby explains how modern percussionists constantly shift between instruments while maintaining a single musical voice. We discuss the similarities between performing contemporary classical music and recording major Hollywood film scores. Joby shares how collaboration with composers often begins long before recording, helping shape the palette of sounds available for a project. He offers behind-the-scenes insight into recording The Odyssey with Ludwig Göransson and the creative process of finding the perfect percussion sounds. We explore the influence of Frank Zappa, Stravinsky, Edgard Varèse, Steve Reich, and other composers on Joby’s musical development. Joby reflects on why experience, adaptability, and problem-solving have become some of the most valuable skills in his career. We discuss the importance of learning from master musicians and why observing great players can be as valuable as formal instruction. Music from the Episode Psappha (Iannis Xenakis) - Joby Burgess, percussion The King of Denmark (Morton Feldman) - Joby Burgess, percussion Troy, from The Odyssey (Ludwig Göransson) - Joby Burgess, percussion Concerto for Bass Drum and Orchestra (Gabriel Prokofiev) - Joby Burgess, percussion About the Podcast The Bandwich Tapes is a long-form interview podcast where I sit down with musicians, composers, producers, and music industry veterans to explore the stories behind their careers, creative process, collaborations, and musical philosophy. Every episode goes beyond biography to examine how great music is actually made. Connect with the Show Email: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Aubory Bugg for a conversation about songwriting, collaboration, musical identity, and the experiences that shaped her forthcoming album, I Think I Had Something Once. Aubory grew up in Granite City, Illinois, just outside of St. Louis, and we talk about how that small-town perspective continues to find its way into her writing. She explains how songs like “Steel Mill Town” helped her move beyond writing exclusively about her own emotions and toward observing the people, places, and details around her. We also talk about her move to Nashville and the community she has found among a close group of independent folk singer-songwriters. We spend a good part of the conversation digging into craft. Aubory traces her path from singing as a child to trumpet, piano, and eventually guitar, including her time studying songwriting at Webster University and performing in jazz ensembles around St. Louis. She shares how studying with vocalist Debbie Lennon helped her move away from oversinging and begin thinking more carefully about why a vocal embellishment belongs in a song at all. Aubory also takes me inside the making of I Think I Had Something Once, including her work with producers and collaborators Matt and John. We talk about the value of creative tension, surrendering part of your original vision to trusted collaborators, recording vocals with only a handful of complete takes, and why bringing other musicians into the process has changed the way she thinks about making records. We also get into the wonderfully old-school story of Aubory walking into Dualtone with her guitar and playing two songs live—a decision that helped lead to her signing with the label. And we close by talking about her first headlining show in London, the connection that happens when people in another country know every word to your songs, and what she hopes to build as this new record makes its way into the world. Key Takeaways Growing up in Granite City, Illinois, gave Aubory an appreciation for small details, close communities, and the kind of observational writing that now plays an important role in her songs. Writing “Steel Mill Town” helped her realize that some of her strongest songwriting happens when she turns her attention outward and writes about the world around her. Aubory’s musical background includes singing, trumpet, piano, guitar, jazz ensembles, songwriting studies, live performance, and learning music production. Her time studying voice at Webster University taught her to think critically about vocal embellishment and to ask whether every riff, belt, or melodic choice is actually serving the lyric. Working with collaborators Matt and John has taught Aubory to embrace healthy creative tension and allow other musicians to challenge her original ideas. Her current vocal recording process often involves three or four complete takes followed by a comp, allowing her to preserve performances rather than constructing every phrase individually. Aubory’s belief that her music is best understood live helped inspire her to take a guitar into Dualtone and perform two songs in person—an approach she says played an important part in her signing with the label. Music from the Episode i think i had something once - Aubory Bugg nosedive - Aubory Bugg the one you want to lose - Aubory Bugg About the Podcast The Bandwich Tapes is a music interview podcast hosted by Brad Williams featuring thoughtful conversations with musicians, songwriters, producers, and other creative people. Each episode goes beyond the résumé to explore how music gets made—the choices, relationships, influences, challenges, and experiences that shape a creative life. Connect with the Show Questions, comments, or guest suggestions? contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with drummer Pat Steward for a wide-ranging conversation about groove, feel, listening, and the experiences that shape a musician over a lifetime. Pat has spent decades behind the kit, including a long history with Bryan Adams, and I had the chance to see him perform in St. Louis shortly before we recorded this conversation. Watching him play reinforced something I have always admired about his drumming: there are no wasted notes. Everything serves the song, the singer, and the musicians around him. We talk about the current Bryan Adams tour and what allows a highly produced arena show to feel still spontaneous and alive. Pat explains his evolving relationship with playing to a click, the importance of supporting a singer, and why feel can be difficult to reduce to a technical formula. We also get into the band's current four-piece configuration, with Bryan handling much of the bass playing himself, and how that change has created a different rhythm-section dynamic. Pat takes me back to his beginnings as a young drummer, from hearing The Beatles and Creedence Clearwater Revival to learning songs by playing along with the radio and records. We talk about Bad Company, Linda Ronstadt, KISS, Rush, AC/DC, jazz education, school bands, and the value of learning to function in as many different musical situations as possible. That curiosity has never left him. Our conversation moves naturally through Tony Williams, Steve Gadd, Jim Keltner, Elvin Jones, Vinnie Colaiuta, David Garibaldi, Bill Stewart, and the drummers and records that continue to inspire him. We also spend a lot of time talking about recording: drum tuning, microphones, engineers, producers, and the difference between capturing music and overworking it. Pat shares stories about recording with Bob Rock, discusses the influence and meticulous approach of Mutt Lange, and makes a compelling case for trusting musicians, listening to the drum kit as a complete instrument, and recognizing when the best performance may already have happened in the first couple of takes. Ultimately, this is a conversation about experience. Pat and I talk about knowing when to use the pencil and when to use the eraser, how songs change after decades of performing them, and why great musicianship often comes down to listening carefully enough to understand what the music actually needs. Key Takeaways Pat approaches drumming by putting groove, feel, and the singer first, with every part designed to support the song rather than draw unnecessary attention to the drums. Playing with a click became less about restricting feel and more about creating a dependable framework in which Pat can still push, pull, and shape the music. The current Bryan Adams band has developed a different rhythmic identity with Bryan playing bass on portions of the show and keyboardist Gary Breit covering other bass parts. Pat's musical vocabulary grew from playing along with radio and records, studying everything from Bad Company, AC/DC, KISS, and Rush to bebop, jazz ensembles, and big-band music. His early experiences in rock bands, concert bands, stage bands, and jazz education taught him to adapt his playing to the music around him rather than force a single approach on every situation. Pat sees live performance and studio recording as related but distinct disciplines: live music benefits from energy and spontaneity, while recording often demands patience, restraint, and attention to the larger sonic picture. Decades of experience have reinforced the importance of trusting musicians, preserving the energy of early takes, and knowing when additional notes—or additional production—actually help the music. Music from the Episode Cuts Like a Knife - Bryan Adams Truth Untold - Odds I Thought I'd Seen Everything - Bryan Adams Into the Mystic - Colin James About the Podcast The Bandwich Tapes is a music interview podcast hosted by Brad Williams, featuring thoughtful conversations with musicians, songwriters, producers, engineers, and other creative people. Each episode explores the experiences, decisions, collaborations, and musical ideas behind a life spent making music. Connect with the Show Questions, comments, or guest suggestions: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with multi-instrumentalist, composer, arranger, producer, and engineer Giulio Carmassi for a conversation about instinct, perseverance, and the unexpected turns that shape a life in music. Giulio takes me back to his childhood in Pisa, Italy, where he began on drums before discovering jazz harmony at the piano. By his teens, he was improvising on multiple instruments and learning alongside musicians several times his age. He shares how moving to the United States at 22 opened doors that had seemed firmly closed and how his ability to play nearly anything eventually became his greatest strength. We dig into Giulio's work with Will Lee, Steve Gadd, Chuck Loeb, and Emmy Rossum, as well as the remarkable path that led him into the Pat Metheny Unity Group. Giulio tells the story behind his "First Circle" video, the grueling month he spent learning its guitar part, and the surreal experience of recording KIN (←→) with Pat Metheny, Antonio Sánchez, Chris Potter, and Ben Williams. Giulio also speaks candidly about the pressure of performing at that level, the discipline of leaving space, and what it means to listen with complete attention. We close by exploring his transition into composing and commercial music, his collaboration with Brian Scary, and why the human movement of a great rhythm section can never be reduced to a grid. Key Takeaways Becoming a father gave Giulio a sharper understanding of time, priorities, and the importance of saying no to work that does not matter. His multi-instrumental approach was once treated as a professional liability, but it ultimately created opportunities that specialization could not have provided. Giulio's move from Pisa to the United States showed him the power of an environment that rewards curiosity, hard work, and initiative. His opportunity with Pat Metheny grew out of years of preparation, a personal recommendation, and an extraordinary month spent learning "First Circle," one measure at a time. Playing with musicians such as Steve Gadd and Will Lee taught Giulio that trust, generosity, and personal connection are inseparable from great musical performances. His time in the Pat Metheny Unity Group honed his ability to concentrate, adapt, and perform under pressure. Giulio believes the feel of master musicians comes from confident, human interaction, not from mechanically conforming every note to a grid. Music from the Episode Chasing Mornings - Giulio Carmassi Traccia Sconosciuta - Giulio Carmassi Ten Thousand Birds - Giulio Carmassi Path Through the Jungle - Giulio Carmassi Can't Stop It - Giulio Carmassi About the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. Host Brad Williams sits 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 Show Questions, comments, and guest suggestions: contact@thebandwichtapes.com

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 Takeaways SAVNT’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 Episode Something Wicked - Ghost Hounds Sinner's Prayer - Ghost Hounds Gimme Shelter - Ghost Hounds Amazing Grace - Ghost Hounds Going Down - Ghost Hounds About the Podcast The 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 Show Questions, comments, guest suggestions, or just want to say hello? 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 Takeaways Erik’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 Episode Music for 18 Musicians (Pulses) - Erik Hall Canto Ostinato - Erik Hall Strumming Music - Erik Hall Music for a Large Ensemble - Erik Hall The Temple of Venus - Erik Hall About 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 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 Takeaways Emanuele’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 Episode Electric Counterpoint - I. Fast - Emanuele Naima Electric Counterpoint - III. Fast - Emanuele Naima Equilibri - Emanuele Naima About the Podcast The 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 Show Questions, comments, and guest suggestions: 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 Episode Song - Artist About the Podcast The 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 Show Questions, comments, guest suggestions, or just want to say hello? 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 Takeaways Satisfied 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 Episode Satisfied - The Malpass Brothers About the Podcast The 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 Show Questions, 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 Takeaways Leading 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 Episode Opus One - Tommy Dorsey Orchestra About the Podcast The 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 Show Questions, 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 Takeaways David 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 Episode Nashville - David Mead Bedtime Story - David Mead Indiana - David Mead Human Nature - David Mead About 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, 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 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 Takeaways Lee 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 Episode Silver Threads and Golden Needles - Lee Newton, Heidi Parton, & Georgette Jones About the Podcast The 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 Show Questions, 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 Episode Music 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 Podcast The 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 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 Takeaways Soul 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 Episode Darin & Brooke Aldridge — Soul Condition About 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 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 Takeaways Johnny 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 Episode Act Naturally - Johnny Owens About 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