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 Takeaways
- A 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 Episode
- Take 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 Podcast
The 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 Show
Email: contact@thebandwichtapes.com