Beyond the Pond Episode 100. Congrats to Brian and Dave for reaching a huge milestone, episode 100! Tom Marshall joins this special episode to celebrate 100 Episodes of Beyond The Pond, and take listener questions to dive into our musical past and musical takes. They said: “It’s a fun episode that summarizes everything we’ve been working towards these past three years. We hope you enjoy & thank you all for your love and support over the first 100 episodes of BTP. See you for the next 100!”

Billy Strings on No Simple Road. The NSR gang welcomes Billy Strings. The conversation “is a lot like a river, flowing easily and at times taking us to unexpected places.” Billy talks about losing friends to substance abuse and how that made him form an otherworldly work ethic, being raised around Bluegrass music and how that just seemed so cool, his relationship with his Dad and how that has informed the person he is today, and tells us what his perfect day looks like.

Deep Phish Jams on The Ravine. We’re happy to share this new project from Beyond the Pond co-host Brian Brinkman. Brian describes this podcast as “deep jams and contemplations on Phish.” Episode 1 is out now. 

Neuroscience and Music on Politics of Truth. On this episode Bob speaks with legendary soprano Renée Fleming about her research with the Kennedy Center and NIH exploring the intersection between neuroscience and music, called the Sound Health Initiative. Renée also explains what she’s up to musically during this time, including a new musical collaboration and conversation with the Kennedy Center, bassist Victor Wooten, and neuroscientist Dr. Daniel Levitin. Finally, Renée talks about being on Joe Biden’s Artists Council and how musicians can strike the right balance when taking a stand for what they believe in.

Robbie Krieger of The Doors on Tapes Archive. A never before published interview with Robbie Krieger (The Doors) from 1991. Host Marc and Robbie talk about going all-instrumental without Jim Morrison, what he thought about Oliver Stone’s movie “The Doors,” why keyboardist Ray Manzarek wanted nothing to do with the film and how the music of the day compared with the music of the ’60s.