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

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

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

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

On this episode of The Bandwich Tapes, I sit down with percussionist and educator Shawn Galvin for a wide-ranging conversation about orchestral life, teaching, and the deeper thinking behind great musicianship. I first learned about Shawn through my son Skyler, who studied with him at LSU, so this conversation felt especially meaningful for me.We begin by talking about Shawn’s approach to teaching and how he balances technique with musicality. His philosophy is simple but powerful: musical intent should always lead the way. Instead of practicing technique in isolation, Shawn encourages students to pursue musical ideas first—and then let the technical work follow to serve those ideas.From there, we dig into orchestral percussion itself, how the role of percussionists continues to evolve, and how skills like drum set playing have increasingly become part of the orchestral vocabulary. Shawn shares fascinating insights into audition repertoire, why certain excerpts appear on audition lists, and how percussionists today must be prepared for a wider range of musical demands than ever before.We also spend time on Shawn’s own musical lineage. Growing up in western Pennsylvania with a father who was both his band director and percussion teacher gave him an early immersion in music education. Later, studying with legendary Pittsburgh Symphony timpanist Stanley Leonard became a foundational experience that shaped the way he thinks about sound, tone production, and the role of percussion in the orchestra.One of my favorite parts of this conversation is hearing Shawn talk about timpani as a gateway into orchestral thinking. Because timpani sits inside the harmonic and structural core of so much orchestral repertoire, studying it opens a deeper understanding of how orchestras actually function musically. That perspective carries into everything from bass drum sound production to phrasing inside the orchestra.We also explore the many dimensions of Shawn’s career—from his years performing with the Pittsburgh Symphony Orchestra to his work with the North Carolina Symphony, his teaching at LSU, and his leadership role with the Spoleto Festival Orchestra, where he helps audition and mentor the next generation of orchestral musicians.This is a thoughtful conversation about musicianship, mentorship, and the long arc of a life spent in music.Key TakeawaysMusicality should lead technique — technical work becomes more meaningful when it serves a clear musical idea.Orchestral percussion continues to evolve — drum set and broader stylistic fluency are now part of many orchestral expectations.Studying timpani deepens understanding of the orchestra — it connects percussionists directly to the harmonic and structural core of the repertoire.Great teachers shape more than musicians — the process of learning music develops discipline, listening, and collaboration skills that transfer far beyond music.Mentorship matters — Shawn’s studies with Stanley Leonard helped shape his musical thinking and approach to teaching.Professional musicianship requires adaptability — orchestral players must be ready for a wide range of tempos, conductors, and interpretations.Music careers can take many forms — performing, teaching, and arts leadership can all intersect in meaningful ways.Music from the EpisodeQueen - Molly Joyce (Shawn Galvin, percussion)Five Gestures - Brett William Dietz (Shawn Galvin, snare drum & LSU Hamiruge Percussion Ensemble - Dr. Brett Dietz, conductor)Letter from Home - Pat Metheny Group (Shawn Galvin, vibraphone)About the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Michael Bacon for a conversation that moves naturally through songwriting, teaching, film scoring, orchestration, and the long arc of a creative life.Michael reflects on the musical education that shaped him, both formal and informal. He talks about returning to Lehman as an adult to fill in gaps in theory, harmony, counterpoint, and music history, and about the profound influence of composer John Corigliano. We also dig into Michael’s early life in Philadelphia, where public school music programs, orchestral experiences, folk music, and an extraordinary listening environment at home all helped form his wide musical palette.One of my favorite parts of this conversation is hearing Michael talk about range: why he is drawn to music that can be beautiful, unsettling, lyrical, loud, delicate, and emotionally direct all at once. That idea connects everything he does, from songwriting with The Bacon Brothers to his work as a film composer and orchestrator. He has no interest in staying in one narrow lane, and that comes through clearly in the way he describes both his influences and his process.We also spend time on collaboration: co-writing in Nashville, writing with his brother Kevin Bacon, adding Mayer to the band, and the trust required to make any long-running musical partnership work. By the end of the conversation, what stands out most is Michael’s clarity about what sustains a creative life: deep listening, family support, musical curiosity, and the willingness to keep showing up for the work.Key TakeawaysMichael Bacon balances multiple musical identities: songwriter, film composer, educator, orchestrator, and performer.He studied at Lehman College, and his time with John Corigliano helped strengthen the technical foundation behind his creative instincts.Growing up in Philadelphia, surrounded by music at home and in public school programs, had a lasting impact on his musical language.His values range in music—beauty, tension, melody, fear, dynamics, and emotional contrast all matter to him as a composer.His songwriting process differs depending on the setting, from structured Nashville co-writes to more personal, experience-driven songs.Collaboration in The Bacon Brothers works because Michael and Kevin bring different strengths, influences, and instincts to the same songs.Writing for orchestra remains one of Michael’s deepest creative joys, especially when he can bring that world into live performance.Music from the EpisodePut Your Hand Up - The Bacon BrothersAirport Bar - The Bacon BrothersPeople in the World - The Bacon BrothersAbout the PodcastThe Bandwich Tapes is a podcast hosted by me, Brad Williams, featuring thoughtful conversations with musicians, songwriters, composers, and artists about craft, creativity, collaboration, and the stories behind the music.Connect with the ShowEmail: contact@thebandwichtapes.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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