Deze podcast is een gesprek met Nando Boers, de auteur van het boek Here We Go over Danny Vera, waarin hij vertelt hoe hij de zanger twee jaar lang intensief volgde. Vera stemde in met het plan om geen biografie, maar een reportage te maken. De schrijver was aanwezig waar het gebeurde: in kleedkamers, backstage, onderweg tussen optredens en tijdens opnamesessies.

“Je moet er zijn als er wat gebeurt,” zegt Nando Boers in het interview.

Nando bezocht ongeveer zestig optredens, was vaak uren voor aanvang al aanwezig bij soundchecks en mengde zich geruisloos tussen band en crew. Die langdurige nabijheid zorgde ervoor dat iedereen hem als vanzelfsprekend onderdeel van de omgeving ging beschouwen, waardoor gesprekken, twijfels en creatieve momenten zich ongefilterd konden ontvouwen in gesprekken en later op papier in het boek. De kern van het boek is Danny Vera’s diepgewortelde behoefte aan vrijheid, autonomie en authenticiteit. Het verklaart zijn afkeer van routine en repeteren, zijn voorkeur voor spontaniteit en zijn verlangen om steeds opnieuw het moment te laten spreken.

Daarnaast komt Danny Vera’s lange, moeizame weg naar succes uitgebreid aan bod. De schrijver vertelt dat hij vooraf weinig wist over de jaren waarin Vera talloze afwijzingen kreeg en soms twijfelde aan zijn talent. Toch bleef hij doorzetten, tot aan het moment waarop hij net dacht dat hij een bijbaan nodig zou hebben, vlak voordat de kans bij het televisieprogramma van Johan Derksen zich aandiende. Het gesprek laat horen hoe bepalend dat keerpunt was.

Een ander belangrijk deel in het boek gaat over het ontstaansproces van de Nederlandse popklassieker Roller Coaster (125 miljoen Spotify streams). De auteur reconstrueerde de opnamegeschiedenis (10 juli 2018) minutieus, inclusief de demo’s en keuzes in de studio.

“Danny Vera is meer dan Roller Coaster,” zegt Nando Boers.

Tot slot vertelt de auteur in de podcast hoe bijzonder het was om aanwezig te zijn bij de opnames van The Way Home, het nieuwe album van Vera, in Middelburg. Die sessies vormen volgens Boers de essentie van het boek.

Interview © 2025 by Peter Schavemaker Tekst, Audio en Podcast Producties. Alle rechten voorbehouden. www.peterschavemaker.nl

Podcast interview Paul Römer - deel 2 by

Podcast interview Paul Römer - deel 1 by

Eric Johanson reflects from his home in New Orleans, in an interview with music journalist Peter Schavemaker, on the creation and meaning of his live album Live in Mississippi, recorded in August 2024 at Ground Zero in Biloxi and released by RUF Records in 2025. For him, the album captures the essence of how his music is meant to exist—alive, improvisational, and shaped by the energy of the moment. “The songs are never exactly the same twice,” he explains, emphasizing his goal to bring listeners “into the live experience” even when touring cannot reach everyone. The intimate, “fat and upfront” sound was crafted to make listeners feel as if the trio were performing directly in their homes.

Johanson sees live performance as an extension of songwriting: once captured in the studio, songs evolve on stage. His approach is rooted partly in lessons from mentor Tab Benoit, who produced his 2017 debut Burn It Down and showed him the importance of capturing authentic performance.

Raised in Alexandria, Louisiana, Eric Johanson absorbed influences far beyond blues—from Metallica and Soundgarden to Joni Mitchell and Fiona Apple—yet identifies the blues as his natural musical language. His acoustic Covered Tracks albums and admiration for Delta blues pioneers such as Son House and Mississippi Fred McDowell show his deep connection to the genre, even as his electric trio sound leans toward British power-blues and 1970s heaviness.

Live in Mississippi includes Skip James’ Hard Time Killing Floor Blues, chosen for its enduring message about economic insecurity. Johanson also honors his Louisiana and New Orleans roots with performances of the Neville Brothers’ Yellow Moon and Dr. John’s I Walk on Guilded Splinters.

Looking ahead, he hopes to collaborate again with Samantha Fish, plans more touring, including Europe in 2026, and envisions a new studio album created through deeper band-based exploration, possibly self-produced.

Interview © 2025 by Peter Schavemaker Tekst, Audio en Podcast Producties. All Rights Reserved.

British blues musicians The Zac Schulze Gang represents the new generation of working-class artists carrying forward the raw, live energy of the UK blues tradition. Based in Kent, a region with a thriving pub scene and deep musical roots, Zac and his band built their reputation through relentless touring and countless gigs.

Their long-awaited debut album Straight To It, released on German-based Ruf Records, captures that same live spirit.

Zac’s influences are unmistakably British. “I found out about blues through Joe Bonamassa in 2009, John Mayall and the Blues Breakers, Jeff Beck, Eric Clapton, Gary Moore. He also draws inspiration from Dr. Feelgood, Nine Below Zero and UK-blues icon Rory Gallagher, artists whose legacy he helps keep alive on stage.

Now 25, Zac has taken his band from The Ship, their local Kent pub, to festivals across Europe and the U.S. “We just wanted to play — and suddenly it all took off.”

Interview © 2025 by Peter Schavemaker Tekst, Audio en Podcast Producties. All Rights Reserved.

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Graham Nash, the legendary singer-songwriter from The Hollies and Crosby, Stills, Nash & Young, reflects on his recent work, political climate, and personal life. His latest album NOW, released in May 2023, was initially described by Nash as a snapshot of his life at that moment. Two years later, he acknowledges how much has changed, from a new Trump administration to global conflicts, yet the record remains deeply personal and political. It includes five songs dedicated to his wife Amy Grantham and tracks such as Golden Idols and Stars and Stripes, which confront Donald Trump’s destruction of truth. Nash admits that many artists avoid criticizing Trump for fear of retaliation, but he feels compelled to speak out.

Though he could live anywhere, Nash insists on staying in America, calling it “a truly great country” despite the chaos of Trump’s second term, which he finds “much more evil than Nixon.” Still, the UK remains close to his heart, particularly his northern roots, and his upcoming tour includes dates in Britain, Germany, and the Netherlands. Nash highlights his lifelong friendship with Allan Clarke, with whom he recently collaborated again, and their shared admiration for Buddy Holly.

On David Crosby’s passing in early 2023, Nash recounts their last exchanges of emails and voicemails, lamenting an unfinished FaceTime call just two days before Crosby died. Though he never said goodbye, he remembers Crosby daily and honors him in his shows. Nash also reveals work on a forthcoming documentary and album of 33 unreleased CSN songs, alongside filmmaker Robert Zemeckis.

At 83, Nash continues to follow his mother’s advice to “follow your heart.” His concerts, he says, could be the last opportunity for audiences to hear classic CSN songs live. Looking forward, he is still writing and hints that a future album will follow NOW.

Interview © 2025 Peter Schavemaker Tekst, Audio en Podcast Producties. All Rights Reserved. [email protected]

Tami Neilson: One of today’s standard-bearers for equality in Music City Nashville, following in the tradition of Loretta Lynn, Kitty Wells and Dolly Parton.

This podcast interview with Canadian/New Zealand singer-songwriter Tami Neilson centers around her new album Neon Cowgirl and the themes that shape her music and career. Neilson speaks candidly about her childhood in a touring family band, the influence of icons such as Kitty Wells, Patsy Cline, Loretta Lynn, Dolly Parton and the lessons she learned early on about the tough realities of the music industry. She reflects on the inequality between men and women in the country world and her role as an advocate for greater visibility of female artists, notably through her project The F Word. Neilson also discusses her inspirations, from Mavis Staples, Johnny Cash, Glen Campbell to Willie Nelson, and the interconnectedness of country, soul, gospel, and blues. Working with Neil Finn. The interview portrays her ongoing search for a personal definition of success, balancing motherhood, creativity, and international touring. Europe and New Zealand also play an important part: places where her music is received more freely and across genres. Neon Cowgirl emerges not only as a tribute to Nashville and her musical heroes but also as a manifesto of resilience, authenticity, and a continuing fight for equality in music.

Interview © 2025 Peter Schavemaker Tekst, Audio en Podcast Producties. All Rights Reserved. [email protected]

In deze podcast wordt muziekjournalist Oscar Smit door collega muziekjournalist Peter Schavemaker uitgebreid geïnterviewd over zijn onderzoek, zijn persoonlijke herinneringen én de rol van Paradiso als kraamkamer van de Nederpunk in zijn boekserie De Paradiso Punkjaren. Een must voor muziekliefhebbers en iedereen die wil begrijpen hoe een undergroundbeweging uitgroeide tot een blijvend hoofdstuk in de Nederlandse popgeschiedenis.

Bijna vijftig jaar geleden, in januari 1977, beleefde Paradiso de oerknal van de punk. The Damned, de Sex Pistols, The Ramones en Blondie stonden op het Amsterdamse podium – vaak nog voor een halflege zaal. Toch zou die periode de Nederlandse muziekgeschiedenis ingrijpend veranderen. Muziekjournalist en punkkenner Oscar Smit dook diep in die tijd en schreef de vijfdelige serie De Paradiso Punkjaren. Het eerste deel, 1976 Pre-punk – 1977 De Oerknal, verscheen oorspronkelijk in 2017 en is nu in herziene vorm uitgebracht.

De boekpresentatie op 31 augustus in de Grote Zaal van Paradiso gaat samen met de release van een unieke LP: Nederpunk: The Early Years 1977-1982. Twintig tracks, waarvan vijftien nooit eerder zijn uitgebracht, geven een rauw en authentiek tijdsbeeld van de begindagen van de Nederpunk. “Het is bedoeld als document,” zegt Smit. “Ik wilde een breed overzicht geven van hoe punk in Nederland rond 1980 klonk – mét verhalen bij de bands. Niet zomaar een compilatie, maar geschiedschrijving.”

In zijn boeken gebruikt Smit niet alleen krantenarchieven, posters en fanzines, maar ook gesprekken met muzikanten. Hij reconstrueert minutieus hoe punk in Nederland wortel schoot. Zo beschrijft hij het eerste optreden dat hij zag: The Damned in Paradiso. “Het was totaal overdonderend: een zanger als Graaf Dracula, een drummer die zijn bekkens in brand stak. Ik kende de studiomuziek, maar live was het een openbaring. Vanaf dat moment was ik bekeerd.”

Nederland kende in die tijd geen eigen equivalent van The Ramones of Blondie. Iedere band gaf zijn eigen draai. The Flying Spiderz uit Eindhoven waren de eerste Nederlandse punkband, Ketchup uit Den Haag zong in het Nederlands en Tedje en de Flikkers uit Nijmegen brachten openlijk homoseksuele punk met politieke lading. “In Nederland kon punk ook gewoon pret zijn, minder zwaar beladen dan in Engeland onder Thatcher. Ik noem dat ‘pretpunk’,” aldus Smit.

Naast Paradiso speelde ook de Nederlandse media een rol. OOR-journalisten, kleine radioprogramma’s als Rauhfaser en fanzines als Aambeeld brachten punk dichterbij. Toch vindt Smit dat de publieke omroep een kans liet liggen: “Punk werd weggestopt in niches, terwijl het veel meer aandacht verdiende.”

Wat begon als een persoonlijke fascinatie – posters van de muur trekken, knipsels verzamelen, reizen naar Londen – groeide uit tot een serieuze archiefcollectie en uiteindelijk deze boekenreeks. “Ik wilde het beeld van die jaren zo goed mogelijk bewaren, inclusief de taal en fouten van toen. Het is geschiedenis.”

En punk anno 2025? Volgens Smit springlevend. “Ik kan me voorstellen dat jongeren die nu bands als Bob Vylan of Waterschade ontdekken, hetzelfde gevoel hebben als ik in ’77. Punk is vaak doodverklaard, maar nog altijd urgent. Kijk naar de compilatie Girls to the Front – jonge Nederlandse vrouwen die hun stem laten horen. Punk is nooit een louter mannending geweest of alleen een Amsterdams fenomeen.”

Interview © 2025 Peter Schavemaker Tekst, Audio en Podcast Producties. Alle rechten voorbehouden.

Barry Mazor, author of the book Blood Harmony about the Everly Brothers, is interviewed in this podcast by music journalist Peter Schavemaker.

Mazor emphasizes his deep and long-standing interest in the Everly Brothers, which began at the age of eight when he first heard Bye-Bye Love. Despite growing up in a household filled with Broadway and jazz music, he developed a strong affection for roots music. This curiosity led him to explore historical country and blues, and later to host a college radio show focused on American roots music.

The inspiration for his book, Blood Harmony, came from the absence of a serious, in-depth, and well-researched book about the Everly Brothers. His lifelong bond with their music made writing it a “natural choice,” Mazor says in the interview. The book seeks to balance the complicated and often dramatic personal relationship between Don and Phil Everly, and the influence that relationship had on their music.

Mazor dispels the popular myth that the brothers grew up in Kentucky; they moved shortly after Don’s birth and spent most of their youth in urban Chicago and Nashville. Their father, Ike Everly, was a major influence; although a blues and ragtime guitarist, he learned country music for the radio and introduced the electric guitar to the Chicago scene. He also taught the boys Black pop harmonies. Don developed a distinctive guitar style. Initially signed as country singers, their music—with hits like Bye-Bye Love—quickly became a phenomenon in both pop and R&B, leading to a complex dual identity that they found hard to manage. They were respected by both white country artists, such as Buddy Holly, and Black R&B musicians like Bo Diddley.

Europe played a vital role in their career, especially in the 1960s when their success in the U.S. waned. The continent served as a “lifeline,” where they continued to draw full houses and score hits. The Everlys experienced multiple comebacks, with their music becoming relevant again whenever interest in roots music resurged.

The intense “blood harmony” between the brothers, combined with constant closeness and clashing temperaments, led to tensions and ultimately a split in 1973; they had grown tired of “the act,” Mazor explains in the interview. After ten years of separate careers, they reunited in 1983—first as brothers, and only later as a performing duo again. Mazor interviewed Phil but was never able to speak to Don, who lived a very private life.

The enduring popularity of their songs, as measured by millions of Spotify streams, is attributed to their unique sound and influential guitar riffs, which even inspired artists such as The Who and The Rolling Stones. Mazor also acknowledges the Everly Brothers International fan club in the Netherlands for its invaluable archive material, which was crucial to his research.

Interview © 2025 Peter Schavemaker Tekst, Audio en Podcast Producties.