On this episode of The Bandwich Tapes, I sit down with Terri Lyne Carrington to discuss her remarkable career, her artistic evolution, and her ambitious new album, Trip the Night Fantastic. Widely recognized as one of the most influential drummers, composers, producers, and educators working today, Terri shares how groove, storytelling, and social consciousness have become inseparable parts of her creative voice.

We talk about the concept behind Trip the Night Fantastic, which Terri describes as a groove-centered project created for difficult times. Our conversation explores the relationship between dance, rhythm, and emotional connection, and how groove can often reach listeners before lyrics ever do. Terri reflects on jazz’s historical relationship with dance music and why reconnecting with that tradition felt important for this project.

We also dive into her journey as an artist and how life experience eventually led her to fully integrate her identity, values, and artistic work. Drawing on lessons learned from mentors such as Wayne Shorter and Herbie Hancock, Terri discusses leadership, collaboration, production, and the challenge of balancing a strong artistic vision with creating space for others to contribute.

The conversation also explores the work of the Berklee Institute of Jazz and Gender Justice, the role of representation in music education, and the importance of creating environments where new voices can shape the future of the art form. Along the way, Terri reflects on her upbringing in Boston, her experiences working alongside some of the greatest musicians in jazz history, and what gives her hope when she looks at the next generation of artists.

This is a thoughtful conversation about creativity, purpose, community, and the ongoing evolution of jazz from one of its most important modern voices.

Key Takeaways

• Trip the Night Fantastic was conceived as a groove-oriented album designed to reconnect jazz with its dance traditions.
• Terri believes groove often creates an emotional connection before listeners fully engage with lyrical content.
• Her artistic identity became stronger when she stopped separating her life experiences from her creative work.
• Lessons from mentors like Wayne Shorter and Herbie Hancock continue to influence her approach to music and leadership.
• Producing music requires balancing a clear artistic vision with openness to collaborators’ ideas.
• The Berklee Institute of Jazz and Gender Justice was created to expand opportunities and perspectives within jazz education.
• Terri remains optimistic about the future of jazz because of the creativity, knowledge, and commitment she sees in younger musicians.

Music from the Episode

• Riddim Song - Terri Lyne Carrington
• Identity Song - Terri Lyne Carrington
• Autonomy Song - Terri Lyne Carrington
• Solidarity Song - Terri Lyne Carrington

About the Podcast

The Bandwich Tapes is a podcast hosted by Brad Williams that features in-depth conversations with musicians, composers, producers, educators, and other creative artists. Each episode explores the craft of making music, artistic growth, collaboration, creative philosophy, and the stories behind the people shaping today’s musical landscape.

Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Celeste Marie Wilson for a conversation about songwriting, identity, performance, and the long road toward becoming the artist she always wanted to be.

With her debut album, Southern American Princess, on the way, Celeste shares how the project has become more than just a collection of songs. We talk about embracing Southern roots after once wanting to escape them, how poetry naturally evolved into songwriting, and why place, family, and storytelling have become central to her artistic voice.

We also spend time discussing the craft behind the music. Celeste talks about developing her voice over more than a decade of dedicated work, the importance of vocal health, recording in the studio with an open mind, and why collaboration often leads to performances she never could have imagined on her own.

Along the way, we dive into musical theater, songwriting influences like Dolly Parton, Kris Kristofferson, Janis Joplin, and Kristin Chenoweth, the experience of winning a Josie Music Award, and the thoughtful process of assembling an album that tells a complete story from beginning to end. It's an honest conversation about finding confidence in your own voice, both musically and personally.

Key Takeaways

•  Celeste discusses how Southern American Princess became an exploration of Southern identity, heritage, and personal growth. 
•  She explains why she considers herself a writer first and a singer second, with songwriting rooted in poetry and storytelling. 
•  Musical theater helped shape her approach to live performance, from stage presence to visual presentation and audience engagement. 
•  She shares her disciplined philosophy on vocal health, including regular coaching, fitness, and the protection of her instrument. 
•  Recording sessions are collaborative, and she intentionally leaves her ego behind so producers, engineers, and musicians can shape the songs together. 
•  Celeste reflects on winning a Josie Music Award and how trusting her instincts ultimately led her to opportunities in Nashville. 
•  The conversation explores why album sequencing still matters and how a carefully ordered record creates a meaningful listening experience. 

Music from the Show

• Marie - Celeste Marie Wilson

About the Show

The Bandwich Tapes is a long-form interview podcast in which I sit down with musicians, songwriters, composers, producers, and artists to explore the creative process behind their music. Rather than focusing on biographies, these conversations dive into artistic philosophy, collaboration, craft, career development, and the stories that shape the people making today's music.

Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with country singer and songwriter Trey Calloway for a conversation about authenticity, tradition, performance, and the responsibility that comes with carrying country music forward.

Trey grew up singing in church, where he learned early how music can bring people together. We talk about the influence of his Pentecostal upbringing, watching his father preach, and how those experiences shaped his instincts as an entertainer and his ability to connect with an audience. We also discuss the lessons he learned playing honky-tonks and working his way through the Myrtle Beach music scene.

Trey explains why he wants his music to remain unmistakably country while still sounding current. He reflects on the influence of artists including George Jones, Garth Brooks, George Strait, Loretta Lynn, and Merle Haggard, as well as the Southern rock music of Lynyrd Skynyrd, The Marshall Tucker Band, and Molly Hatchet.

We also dig into Trey’s approach to songwriting. His songs explore working people, family, heartbreak, faith, redemption, and the lives he observes around him. Trey talks about drawing inspiration from conversation, writing about his father’s life as a construction worker, and trying to create songs that hold a mirror up to ordinary experience.

Trey also shares the story behind his recording of “Slide,” a song previously recorded by Gary Allan and written by Ross Ellis, Alex Kline, and Michael Whitworth. He explains why the song felt personal enough to become his own, the importance of honoring great outside songs, and why country music still needs strong relationships between singers and professional songwriters.

Key Takeaways

• Trey believes country music can honor its history while still sounding fresh, modern, and personal.
• Growing up in a Pentecostal church taught him how to communicate with an audience and make music feel communal.
• His years in the Myrtle Beach music scene taught him how to lead a band, manage production, run a show, and treat music as a business.
• Moving to Nashville required Trey to start over, accept a smaller role, and rebuild his career in a more competitive environment.
• Trey approaches songwriting as a way to observe people and turn conversations, family experiences, and everyday struggles into songs.
• Many of his working-class songs are inspired by his father, who spent his life in construction and other forms of physical labor.
• Recording “Slide” reinforced Trey’s belief that a singer does not have to write a song to deliver it honestly and make it feel personal.

Music from the Episode

• Slide - Trey Calloway

About the Podcast

The Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.

Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with brothers Jesse and Noah Bellamy to talk about their outstanding new album, The Sunshine Shop, and what it means to build music around family, trust, and years of playing together. We discuss why recording with the same band they tour with gives the album its live energy, and how they found a studio environment that captured their sound without overproducing it. 

Our conversation naturally turns to family harmony, and the unique connection siblings share when they sing together. Jesse and Noah reflect on growing up surrounded by music, the influence of classic country, rock, soul, and gospel, and how artists like The Louvin Brothers, The Everly Brothers, Charlie Rich, Jerry Lee Lewis, Marty Robbins, and Don Williams continue to shape their musical identity. 

We also talk about life in Nashville, navigating the music business as members of the Bellamy family, and how their goals have evolved over time. Rather than chasing record deals or industry expectations, they've reached a place where they can simply make the music they believe in and let the songs lead the way. 

Along the way, we discuss memorable collaborations on The Sunshine Shop, including appearances from Tess Frizzell and Riders in the Sky, their songwriting process as brothers, and why they're already looking ahead to the next record while continuing to let this one find its audience. 

Key Takeaways

•  Jesse and Noah intentionally recorded The Sunshine Shop with their touring band to preserve the chemistry and feel they had already developed on stage. 
•  Family harmony comes naturally, but years of performing together refine phrasing, blend, and musical instincts. 
•  Their influences stretch well beyond traditional country, drawing from soul, gospel, classic rock, and artists like Charlie Rich, Jerry Lee Lewis, Elvis Presley, Marty Robbins, and Don Williams. 
•  Nashville—and the music industry itself—has changed dramatically since they arrived, leading them to focus more on artistic independence than industry expectations. 
•  Collaborations with Tess Frizzell and Riders in the Sky grew out of genuine relationships and mutual respect for country music traditions. 
•  Rather than scheduling formal co-writing sessions, both brothers write independently and allow the strongest songs to emerge naturally. 
•  They're already preparing material for their next album while continuing to refine older songs through live performance. 

Music from the Episode

•  I Told a Lie — Jesse & Noah Bellamy

About the Podcast

The Bandwich Tapes is a podcast where I sit down with musicians, composers, producers, and artists to explore the stories behind the music. Rather than focusing solely on career highlights, these conversations delve into creativity, collaboration, musicianship, songwriting, recording, performance, and the experiences that shape an artist's musical life.

Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with country singer and songwriter Makenzie Phipps for a conversation about small-town roots, faith, songwriting, performance, and the experience of stepping onto one of music’s biggest television stages.

Makenzie grew up in Bluefield, Virginia, near the West Virginia line, and began singing in church when she was four years old. We talk about the support she still receives from her hometown, the transition from a small community to Nashville, and how years of performing taught her that singing the notes is only one part of connecting with an audience.

We also discuss the growth she has experienced as a songwriter. Makenzie explains how writing her own material changed the way she listens to lyrics and approaches storytelling, and why she wants listeners to believe and feel the story behind every song she sings.

A major part of our conversation focuses on her experience on The Voice. Makenzie shares the pressure of waiting for her blind audition, learning that only one place remained, and stepping onto the stage after nearly convincing herself she would not get the opportunity. Snoop Dogg turned his chair at the final moment, making Makenzie the last singer chosen for a team that season.

Makenzie also tells the story behind “Devil Ain’t in Hell,” her duet with fellow The Voice contestant Aubrey Nicole. The two wrote the song late one night while working on the show in California, later recording it with producer Grady Saxman at Saxman Studios. What began as an unplanned hotel-room co-write became a lasting musical connection and a new chapter in Makenzie’s career.

Key Takeaways

• Growing up in Bluefield, Virginia, taught Makenzie to appreciate community, support, and the opportunities that come with pursuing music.

Music from the Episode

• Devil Ain't in Hell - Makenzie Phipps

About the Podcast

The Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.

Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with singer, songwriter, producer, author, and visual artist Kelly Lang for a conversation about creativity, confidence, country music, and the experiences that have shaped her life and work.

Kelly and I begin by discussing the many forms her creativity takes, from songwriting and recording to painting, producing, and creating videos. She talks about learning to move between those disciplines, the freedom that comes from no longer being afraid to fail, and the challenge of navigating social media without letting a single negative voice outweigh the support of an entire audience.

We also discover that Kelly and I share an unusual part of our musical histories: we both appeared on Star Search. Kelly reflects on competing as a young artist, navigating unexpected changes during the show, and why she is grateful that her experience took place before social media became part of every televised performance.

Kelly also shares stories from growing up around Conway Twitty, whose road manager was her father. She remembers hearing Conway test new songs for family and friends, sitting beside the stage as audiences responded to him, and realizing at an early age that she wanted to create that same kind of connection. We discuss her song “Goodbye Darlin’,” written in Conway’s honor, and the songwriting lesson she learned from Harlan Howard: say as much as possible with as few words as necessary.

Our conversation also explores Kelly’s growth as a producer, the confidence she has developed in the studio, and the emotional perspective that comes from experience. Twenty-two years after a breast cancer diagnosis, Kelly says she is less interested in chasing fame and more interested in creating music that helps someone through a difficult day. She also introduces her album Jealous Green Eyes and the single “Never Met a Man I Didn’t Love.”

Key Takeaways

• Kelly sees songwriting, painting, producing, and video creation as connected parts of a larger creative life.
• Her experience on Star Search taught her to adapt quickly, perform under pressure, and trust herself at a young age.
• Growing up around Conway Twitty gave Kelly an early understanding of songwriting, performance, and the connection between an artist and an audience.
• Harlan Howard taught her to write directly and use as few words as possible while preserving the song’s emotional meaning.
• Kelly has become more confident about expressing her musical ideas and making final production decisions on projects bearing her name.
• Life experience has deepened the way she writes and interprets songs, giving her greater empathy and emotional perspective.
• More than two decades after her breast cancer diagnosis, Kelly now measures success by whether her music moves, encourages, or helps another person.

Music from the Episode

• This Too Shall Pass - Kelly Lang

About the Podcast

The Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.

Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with Los Angeles-based singer, songwriter, guitarist, and music director Evan Zee for a conversation that begins with musical connection and quickly opens into something deeper. I first found Evan while researching for another interview, tracing a path from Larry Goldings to Lila Forde and then to Evan. That kind of chain reaction is one of my favorite things about this show, and in this case it led to a conversation about listening, community, faith, family, and the way music can widen a person’s heart.

We begin by talking about Evan’s musical relationship with singer Lila Forde and how their collaboration grew out of church work, friendship, and time spent simply playing together. Evan reflects on the importance of “big ears” as a musician, the kind of listening that goes beyond technique and becomes a way of serving the song, the people around you, and the moment itself. What follows is one of my favorite kinds of conversations: one that starts with music but naturally opens into larger questions about how to live.

From there, Evan speaks with real honesty about marriage, fatherhood, and how family life changed his voice, his art, and his sense of purpose. He describes becoming a parent before he felt ready, and how that experience forced him to confront fear, insecurity, and the need for growth in a way that ultimately deepened his artistic expression. It is a thoughtful and moving part of the conversation, and one that gets at something I care deeply about on this podcast: how life itself shapes the music.

We also spend time talking about Evan’s long history playing in church, from starting as a teenager to later studying at USC, moving to Los Angeles, and navigating his own spiritual unraveling and reconstruction. Today, as music director at a Presbyterian church in Santa Monica, he has built a creative community around intention, trust, and “the hang.” He shares how that environment led to a new record featuring close collaborators including Lila Forde, Misha, Carl McComas-Reichl, Miguel Atwood-Ferguson, Tom Frazier, and Darla, and why he wanted the session to feel playful, immediate, and alive.

We close by talking about a powerful live performance in the wake of the Eaton fire, which displaced Evan and his family from their Altadena home, as well as his deep love for Joni Mitchell and the spiritual force he hears in her writing. This episode is about much more than career milestones. It is about listening as a musical value, as a human value, and as a way of moving through the world with greater presence.

Key Takeaways

• Evan Zee talks about why “big ears” may be one of the most important qualities a musician can have, both on and off the bandstand.
• He shares how his collaboration with Lila Forde grew out of church work, friendship, and hours of unpaid playing simply for the sake of getting better together.
• Evan reflects candidly on how marriage and fatherhood reshaped his artistry, deepened his voice, and changed the way he experiences music.
• He discusses his journey through faith, deconstruction, and a more expansive understanding of music as a spiritual practice.
• As a music director in Santa Monica, Evan has created a scene built around trust, intention, generosity, and what musicians call “the hang.”
• He gives insight into a new record built with a close-knit cast of players including Lila Forde, Carl McComas-Reichl, Miguel Atwood-Ferguson, Tom Frazier, Misha, and Darla.
• We also talk about Joni Mitchell, Pat Metheny, live performance after loss, and the role music can play in grief, healing, and community.

Music from the Episode

• Warm and Right - Evan Zee (Live in LA)
• Never Leave a Moment - Evan Zee
• Long Lost Lover - Evan Zee (Live in LA)
• Love - Evan Zee (Live in LA)

About the Podcast

The Bandwich Tapes is a podcast where I sit down with musicians, songwriters, producers, and creative people for thoughtful conversations about craft, career, collaboration, and the experiences that shape a life in music. It is a show about process, humanity, and the stories behind the work.

Connect with the Show

[email protected]

On this episode of The Bandwich Tapes, I sit down with Deer Fellow, the Austin-based duo of Alyssa and Matt, for a conversation about harmony, songwriting, production, and the creative life of a working independent band.

Their new full-length album, Hues, is built around the idea of emotional color. We talk about how that concept developed, how songs from different points in their writing lives found a home together, and how video games, travel, nature, and everyday life all find their way into their creative process.

Alyssa and Matt also talk about the practical and musical challenges of being a duo. Their sound is remarkably full, both live and on record, and we dig into how they use looping, synth, violin, guitar, vocals, and production choices to create something expansive without making it feel crowded.

This conversation also gets into the reality of being full-time musicians in Austin: the gigs that pay the bills, the shows that feed the soul, the pressure of social media, and the persistence it takes to keep growing while staying connected to the music itself.

Key Takeaways  

• Deer Fellow began after Alyssa and Matt met at an open mic and discovered a natural vocal chemistry.  

• Their album Hues is centered around emotional color and includes songs written across many different seasons of their lives.  

• The song “Easier” was their first full song written together from start to finish.  

• The album’s “Between Shades” interludes are built from pieces of existing songs, highlighting vocals, violin, and guitar.  

• Alyssa and Matt recorded the album at home, then sent the tracks out for mixing and mastering.  

• The duo format has pushed them to become stronger arrangers, performers, and producers.  

• Austin has challenged them professionally while also giving them community, grit, and access to support systems for working musicians.

Music from the Episode  

• Fool For You - Deer FellowInvisible - Deer Fellow
• Between Shades (Part One) - Deer Fellow
• Beautiful Grey - Deer Fellow
• Pep in My Step - Deer Fellow
• Hues - Deer Fellow

About the Podcast
The Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, composers, producers, and artists about craft, collaboration, creative process, musical identity, and the way music actually gets made.

Connect with the Show
Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with John Cowan, a musician whose voice has been part of my own musical memory since I first heard New Grass Revival as a kid at the Georgia Mountain Fair in Hiawassee, Georgia.

John and I talk about his early influences, from Paul McCartney and Duck Dunn to Leon Russell, and how he developed as both a singer and a bass player. We also dig into the specific challenge of singing lead while holding down the low end, especially when the bass part and vocal line are moving in different rhythmic directions.

The conversation moves through John’s years with New Grass Revival, his deep admiration for Sam Bush’s rhythm, and the way bluegrass taught him the power of simplicity. John also reflects on finding his own voice after years of being able to imitate other singers, and how joining New Grass Revival forced him to become himself as a vocalist.

We also talk about his work with The Doobie Brothers, his respect for Tiran Porter’s bass lines, singing harmony, working with Andrea Zonn, Luke Bulla, and The HercuLeons, and the gratitude that comes from a life spent standing beside remarkable musicians.

Key Takeaways  

• John reflects on the impact of New Grass Revival and how joining the band helped him discover his own voice.  

• He talks about the challenge of singing lead while playing bass, especially when the bass line is syncopated.  

• Paul McCartney, Duck Dunn, Leon Russell, Little Feat, Stevie Wonder, and Gregg Allman all shaped John’s early musical world.  

• Playing bluegrass taught John the beauty and power of simplicity.  

• John describes Sam Bush as one of the greatest rhythmic forces in bluegrass music.  

• His role with The Doobie Brothers gives him the chance to honor Tiran Porter’s melodic and highly musical bass parts.  

• John speaks openly about recovery, community, discipline, and the work of becoming a better person over time.

Music from the Episode  

• Georgia Rhythm - John Cowan
• Devil Woman - John Cowan
• Hold to a Dream - New Grass Revival
• You Plant Your Fields - New Grass Revival
• Take Me to the Alley - The Herculeons
• I'm Just Not Ready - John Cowan  

About the Podcast
The Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, composers, producers, and artists about craft, collaboration, creative process, musical identity, and the way music actually gets made.

Connect with the Show
Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with singer, songwriter, producer, studio builder, and longtime Austin music figure Hank Alrich for a conversation about songs, sound, family, and the long arc of a creative life.

Hank talks about his early years as a working folk singer, his time building a recording studio inside Armadillo World Headquarters, and eventually taking the helm of that legendary Austin venue in the late 1970s. Along the way, he reflects on the kind of musical education that comes from being surrounded by country, blues, folk, jazz, funk, and experimental music all in the same room.

We spend a good bit of time with Hank’s album Broken River, especially the way it balances polish and looseness. Hank shares how he approaches recording with a live band, why he values trusted collaborators, and how his daughter Shaidri has become an essential musical voice in his work.

This is a conversation about writing only when the song demands it, letting musicians play together in real time, and learning to respect the crack in the performance where the light gets in.

Key Takeaways

 • Hank’s first professional gig was as a house folk singer, playing six sets a night, seven nights a week.
 • His work at Armadillo World Headquarters gave him a broad musical education across folk, country, blues, jazz, funk, and beyond.
 • Broken River brings together songs from different periods of Hank’s writing life.
 • Hank values live recording because of the human, almost metaphysical connection between musicians in the room.
 • His daughter Shaidri plays an important role as a harmony singer, collaborator, and trusted set of ears.
 • Hank sees production as a team effort, with every musician and engineer contributing to the final shape of the song.
 • The conversation explores the difference between perfection and completion in making records.

Music from the Episode

• I Hate to See That Evening Sun Go Down - Hank Alrich
• The Perfect Hat - Hank Alrich
• She Had Whiskey For Dinner - Hank Alrich
• Broken River - Hank Alrich

About the Podcast
The Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, composers, producers, and artists about craft, collaboration, creative process, musical identity, and the way music actually gets made.

Connect with the Show
Email: [email protected]