The Bandwich Tapes

Brad Williams
  • 5.0 (16)
  • Music Interviews
  • Updated Semiweekly

The Bandwich Tapes is a podcast where host Brad Williams sits down with musicians for thoughtful conversations about the craft of making music. Each episode explores the experiences, influences, and creative decisions that shape an artist’s work. From improvisation and songwriting to collaboration, recording, and life on the road, the conversations go beyond biography to focus on how music actually gets made. Guests include instrumentalists, composers, songwriters, and producers from across the musical landscape. The tone is relaxed, curious, and musician-to-musician—an opportunity to hear artists reflect on their process, their collaborators, and the musical moments that have stayed with them. Whether you're a seasoned musician, a die-hard music fan, or simply someone who loves a good story, The Bandwich Tapes has something for everyone. So, come along for the ride as we explore the magic of music and the incredible journeys of the people who bring it to life.

  1. 1d ago

    Coyle Girelli: Songs, Soul, and the Long Road to Out of This Town

    On this episode of The Bandwich Tapes, I sit down with singer-songwriter Coyle Girelli for a conversation about melody, singing, collaboration, and the experiences that have shaped his songwriting. We spend a lot of time talking about his album Out of This Town and its deluxe edition, a collection with an unusual history that stretches back roughly a decade and grew out of his remarkable songwriting partnership with the late Mac Davis. Coyle talks about meeting Mac after Mac saw him perform “Champion” with The Chevin on Letterman, and how their connection quickly developed into a prolific writing partnership. The songs often came together in an hour or two, but the experience had a lasting effect on Coyle. He describes his songwriting life as essentially “pre- and post-Mac,” crediting Mac with teaching him to pay closer attention to the craft and care behind every part of a song. We also get into Coyle’s wide range of musical influences, his obsession with melody, and the quality he hears connecting artists as different as Bruce Springsteen, Bob Dylan, Tom Petty, Nirvana, Puccini, and Verdi: soul. For Coyle, great music ultimately comes down to sincerity, believing the song and communicating something genuinely human through it. Coyle also shares stories from his years of collaborating with other artists and songwriters, including Linda Perry, Amy Allen, LP, and others, as well as the unexpected journey of BTS recording one of his songs. We talk about his move from Yorkshire to New York, the pressures of working within the major-label system, his approach to recording vocals, and why he prefers to capture performances before overthinking them. We close with a fascinating look at Calm + Collected, the music group Coyle co-founded to support artists working in jazz, classical, ambient, wellness, and other listening spaces. That leads us into a broader conversation about streaming, the changing music business, artificial intelligence, albums, and why Coyle believes that no matter how technology changes, people will continue to need music made by other human beings. Key Takeaways • Coyle sees melody as one of the central elements of his musical life, both as a songwriter and as a listener. • Working with Mac Davis fundamentally changed the way Coyle approached songwriting, adding a deeper level of attention and craftsmanship to instincts he had already developed. • Out of This Town was never originally conceived as an album. It emerged naturally from Coyle and Mac spending time together and writing songs, some of which were completed in only an hour or two. • The album’s long journey ultimately led to Sun Records, a fitting home given Mac Davis’ connection to Elvis Presley and Sun’s place in music history. • Writing with artists and songwriters including Linda Perry, Amy Allen, and LP helped Coyle expand his creative vocabulary and reinforced his belief that every collaboration offers something to learn. • As a singer, Coyle prefers capturing vocals in one or two takes, believing that overthinking or oversinging can gradually diminish the performance. • Despite enormous changes in technology, distribution, streaming, and AI, Coyle believes the essential purpose of music remains unchanged: one human translating experience and emotion into sound for another human to receive. Music from the EpisodeOut of This Town - Coyle GirelliIt Only Hurts When I'm Awake - Coyle GirelliLost To the River - Coyle Girelli (with KT Tunstall) About the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. I sit down with musicians, songwriters, producers, and other artists for thoughtful conversations about craft, collaboration, careers, influences, and the stories behind the music. Connect with the Show contact@thebandwichtapes.com

    Coyle Girelli: Songs, Soul, and the Long Road to Out of This Town

  2. 1d ago

    Brian Sachs of Mynd Reader: Songs, Space, and Second Chances

    On this episode of The Bandwich Tapes, I sit down with Brian Sachs, drummer, songwriter, and co-founder of Mynd Reader, for a conversation about returning to music, discovering songwriting later in life, and learning to approach creativity with a different set of priorities. Brian’s first musical life took place in New York City with The Authority, a band that came up alongside the Spin Doctors, Blues Traveler, and Joan Osborne in the city’s club scene. After years away from making music, Brian eventually found his way back, but without the ambition and competitiveness that accompanied his younger years. With Mynd Reader, he describes making music from a place of gratitude, curiosity, and a desire to serve the song rather than himself. We spend a lot of time talking about craft. Brian explains how his background as a drummer shapes his songwriting, why new ideas need a safe collaborative environment, and how his partnership with Tonin allows fragile ideas to develop without being dismissed too quickly. We also get into his evolution as a drummer,  from progressive rock influences like Bill Bruford, Phil Collins, Keith Moon, and Stewart Copeland to discovering James Brown, funk, Latin rhythms, and a completely different understanding of groove. We also dig into Mynd Reader’s new EP, Sunday Drive, and the decision to record the band without a click, allowing the music to breathe naturally. Brian talks about working with Grammy-winning mixer Michael Brauer, the importance of Shelby Kemp’s voice and the lyrical content of the songs, and the band’s attempt to capture something timeless rather than simply make stripped-down versions of previously recorded material. At the center of the conversation is an idea Brian returns to repeatedly: serve the song. Whether he’s writing, playing drums, collaborating with another musician, or deciding not to play at all, Brian has learned that maturity in music often means knowing when to step forward — and when to leave space for somebody else. Key Takeaways • Returning to music later in life gave Brian a different perspective, replacing much of the ambition and competitiveness of his younger years with gratitude and appreciation. • Brian discovered songwriting after years of identifying primarily as a drummer, and his rhythmic background continues to shape the melodies and phrasing of his lyrics. • His songwriting partnership with Tonin depends on trust and a “yes, and” approach that allows vulnerable new ideas to develop before they are judged. • Brian’s early drumming influences included Bill Bruford, Phil Collins, Keith Moon, Stewart Copeland, and Ian Paice, but his time with The Authority introduced him to James Brown, funk, Latin rhythms, and a much broader concept of groove. • Playing alongside bassist Zach Jackson reinforces Brian’s belief that tone, feel, instinct, and listening matter more than technical display. • Mynd Reader recorded the six songs on Sunday Drive in roughly ten hours without a click, allowing the tempos to move naturally with the emotional needs of the songs. • Working with Michael Brauer helped the band approach Sunday Drive as something more than an acoustic reinterpretation. The goal was to create different versions of the songs built around Shelby Kemp’s voice, the lyrics, and an easy, timeless musical feel. Music from the Episode Still Uncertain - Mynd ReaderSoundtrack of Life - Mynd ReaderMourning Light - Mynd ReaderAbout the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. Hosted by musician Brad Williams, the show features conversations with artists, songwriters, producers, composers, and other music professionals about their careers, creative processes, collaborations, influences, and the craft behind their work. Connect with the Show Questions, comments, or guest suggestions? contact@thebandwichtapes.com

    Brian Sachs of Mynd Reader: Songs, Space, and Second Chances

  3. Oct 1

    Kile Antone: Finding His Way Back to the Music

    On this episode of The Bandwich Tapes, I sit down with South Carolina country artist Kile Antone for a conversation about music, songwriting, faith, identity, and finding your way back to something you thought you had left behind. Kile’s path to country music has been anything but conventional. He began playing guitar as a teenager, but life eventually took him into law enforcement, ministry, and work as a paramedic. For nearly 30 years, he rarely performed country music in public. Then, a few years ago, he walked into an open mic with his guitar, so nervous he was physically shaking, and sang a few songs. That night started a new chapter. We spend a lot of time talking about how those years away from the stage now inform Kile’s songwriting. His song “Drink Some More” grew from a late-night message from someone going through a difficult moment and Kile’s own memories of growing up in a home affected by alcoholism and violence. We talk about protecting the people behind a song while still preserving its emotional truth, why a song doesn’t have to follow a prescribed structure, and how country music can say an enormous amount with very little. The conversation also moves into more personal territory as Kile talks about separating who he is from the roles he has occupied throughout his life. He shares a powerful story about being asked by a counselor, “Who is Kile Antone?” and realizing that pastor, police officer, and paramedic were answers to what he did—not who he was. That leads us into a discussion about music as a place where he can simply be himself, and about how age and perspective can change the reasons we make music in the first place. We also talk about performing solo versus playing with a band, learning to read a room, his Open Range Band and Stormfront Band, and the new opportunities that have emerged through his friendship and work with country artist Leon Everett. Kile also shares what’s ahead, including his first album, original songs, a duet with Leon Everett, and his recording of George Strait’s “Christmas Cookies.” Key Takeaways • Kile returned to performing country music after nearly 30 years away from the public stage, beginning with three songs at a local open mic. • His experiences in law enforcement, ministry, and emergency medicine have given him a deep reservoir of real-life stories and emotions to draw from as a songwriter. • “Drink Some More” was written in roughly 30 minutes after Kile received a late-night message from someone dealing with the consequences of alcohol and conflict. • Kile believes in protecting the identities of the people who inspire his songs while remaining faithful to the emotional truth of their stories. • His unconventional journey back to music has become as much about rediscovering his identity as it is about building a career. • Performing has given Kile an outlet separate from the weight and responsibility that have accompanied much of his professional life. • His growing musical career includes solo performances, the Open Range Band, Kile Antone and the Stormfront Band, recordings with Leon Everett, and work toward his first full album. Music from the Episode Drink Some More - Kile Antone  About the Podcast The Bandwich Tapes is a podcast about the people who make music and the experiences that shape the way they make it. I sit down with musicians, songwriters, producers, engineers, and other creative people for conversations about craft, collaboration, careers, influences, and the stories behind the music. Connect with the Show Questions, comments, or guest suggestions? Reach out at contact@thebandwichtapes.com.

    Kile Antone: Finding His Way Back to the Music

  4. Oct 1

    James Woods: The Road Back Through Songwriting

    On this episode of The Bandwich Tapes, I sit down with James Woods for a conversation centered on a part of his creative life that may surprise people who primarily know him as an actor: songwriting. James talks about the remarkable burst of creativity that has produced more than 75 songs and a series of concept albums created alongside Shooter Jennings and Bob Wayne. We dig into his upcoming album, The Killer’s Wife, the single “The Hearts of Men,” and the real-life experience that became the starting point for the album’s fictional story. What interested me most was the difference James sees between acting and songwriting. As an actor, he spent decades interpreting someone else’s words and vision. Songwriting has given him the opportunity to begin with a blank page and say exactly what he wants to say. We talk about writing quickly, trusting instinct, revising individual words until they feel right, and what happens when a song seems to arrive almost fully formed. James also takes us inside the collaborative process with Shooter Jennings, Bob Wayne, and the musicians who bring these records to life. He describes watching players hear a song, make a chart, and begin shaping the music almost immediately — and how their individual choices can transform the emotional meaning of something he originally wrote alone. Ultimately, this is a conversation about creative second acts. James reflects on finding a new artistic path later in life, writing from personal experience, creating his own record label, and why he believes artists should look for ways to retain control of their work. For someone who spent much of his career bringing other people’s stories to life, songwriting has become an opportunity to finally tell his own. Key Takeaways • James Woods has written more than 75 songs and describes songwriting as an unexpected creative outpouring that emerged later in his life. • He sees a fundamental difference between acting and songwriting: acting is interpretive, while songwriting allows him to originate the words, ideas, and perspective himself. • His collaboration with Shooter Jennings began during the COVID era and eventually expanded to include Bob Wayne, with whom Woods developed an unusually fast and productive writing partnership. • Concept albums have become central to Woods’ approach. Rather than treating songs as isolated pieces, he likes creating records connected by characters, ideas, imagery, and narrative themes. • The Killer’s Wife grew from an experience Woods had as a young man, but he transformed that memory into a fictional narrative rather than attempting to document the actual people involved. • Woods places enormous value on the contributions of musicians in the studio, describing how players such as Aubrey Richmond, Jamie Douglass, John Schreffler Jr., and Ted Russell Kamp can dramatically reshape a song through instinctive musical choices. • Woods views this period as a creative second act and hopes his independent approach to making and releasing music can encourage other artists to find ways to maintain greater control of their work. Music from the Episode Song - ArtistAbout the Podcast The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. Hosted by musician Brad Williams, the show features conversations with artists, songwriters, producers, composers, and other music professionals about their careers, creative processes, collaborations, influences, and the craft behind their work. Connect with the Show Questions, comments, or guest suggestions? contact@thebandwichtapes.com

    James Woods: The Road Back Through Songwriting

  5. Sep 28

    Nate Morton: Preparation, Versatility, and the Art of Listening

    On this episode of The Bandwich Tapes, I sit down with drummer and educator Nate Morton for a wide-ranging conversation about musicianship, preparation, versatility, listening, and the skills that build a career long after you leave the practice room. Nate is best known to many listeners as the drummer for NBC’s The Voice, a gig that requires him to move effortlessly between rock, pop, country, R&B, blues, and just about anything else that lands on the music stand. We talk about how a childhood filled with everything from KISS and Michael Jackson to George Clinton, the Beatles, the O’Jays, the Temptations, Barry White, and Booker T. & the M.G.’s helped build that musical vocabulary. Nate explains why his goal was never to become the “rock guy” or the “jazz guy.” He wanted to become the always-employed guy. But much of our conversation is about what happens beyond the notes. Nate and I dig into preparation, organization, punctuality, adaptability, and musicians' responsibility to the people around them. He shares lessons from his time at Berklee College of Music, including the realization that learning what not to play can be just as important as developing the ability to play. A story about watching Abraham Laboriel Jr. take a four-bar solo becomes a lesson in confidence, restraint, and musical maturity. We also delve deeply into the relationship among drums, bass, singers, and the rest of the band. Nate explains how he adjusts his playing to different vocalists, why listening matters more than showing off, and how his relationship with bassist Sasha Krivtsov on The Voice allows the rhythm section to constantly react and adapt to one another. His philosophy is simple: the band only sounds good when everyone sounds good. Along the way, we talk about teaching, technology, learning music before everything was a click away, the value of relationships, and why small interactions can have an enormous impact on another musician. This one became much more than a conversation about drumming. It’s about professionalism, curiosity, generosity, and what it actually takes to build a life in music. Key Takeaways Preparation extends far beyond practicing your instrument. Being on time, organized, dependable, adaptable, and respectful of other people’s time can be as important to a career as technical ability.Versatility creates opportunity. Nate intentionally developed enough vocabulary across multiple styles to walk into different musical situations comfortably. His goal was to become the “always-employed guy.”Listening is one of the most important skills on the bandstand. Whether working with a singer, bassist, guitarist, or an entire ensemble, Nate constantly adjusts his playing according to what everyone else is doing.Great musicians know when not to play. Nate’s story about Abraham Laboriel Jr. at Berklee illustrates how confidence and restraint can communicate more than filling every available space.Adaptability matters more than perfect circumstances. From forgotten floor tom legs to unfamiliar backline setups, Nate learned that sometimes you simply have to “sit down and make music.”Music school can give you tools, but the real world teaches you where to use them. Berklee gave Nate technical vocabulary and a safe environment to make mistakes, while professional gigs taught him context, restraint, and musical judgment.Relationships matter. Nate sees genuine human interaction as one of the central principles of both his career and his life, whether he is working with another musician, teaching a student, or answering a question from someone who reaches out online.Music from the Episode I Think I Just Said That - Fraud ProphetsScrubs - Fraud ProphetsHomer's Journey - Fraud ProphetsMoths and Mosquitoes - Fraud ProphetsAbout the PodcastThe Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made. Connect with the ShowQuestions, comments, guest suggestions, or just want to say hello? contact@thebandwichtapes.com

    Nate Morton: Preparation, Versatility, and the Art of Listening

  6. Sep 21

    Joey Baron: Why Great Musicians Don’t Waste Notes

    On this episode of The Bandwich Tapes, I sit down with legendary drummer Joey Baron for one of the most thoughtful conversations I’ve ever had about what it truly means to make music. Rather than talking about chops or technique, Joey takes us deep into the ideas of touch, tone, sound production, and why a musician’s relationship with space is just as important as the notes they choose to play. We explore Joey’s remarkable career, from growing up in Richmond, Virginia, to studying briefly at Berklee before learning on the bandstand alongside musicians like Joe Lovano and John Scofield. He shares stories about playing with Carmen McRae, Bill Frisell, John Abercrombie, Jim Hall, David Bowie, Laurie Anderson, Brian Eno, Steve Kuhn, and many more, but what emerges isn’t a collection of famous names. It’s a philosophy of listening deeply and serving the music above everything else. Our conversation also dives into the pursuit of personal sound. Joey explains how losing all of his cymbals early in his career unexpectedly changed the way he thought about instruments, leading him to focus less on equipment and more on touch, tone, and expression. Along the way, we discuss why great musicians sound like themselves regardless of the instrument they’re playing, why the best artists never waste notes, and how silence can often communicate more than virtuosity. It’s a conversation about listening, not just to music, but to people, spaces, and the world around us—and why that kind of attention remains one of the greatest gifts a musician can develop. Key Takeaways Joey explains why touch and sound production matter more than technical ability or expensive instruments.We discuss how tuning drums is influenced by the acoustics of each performance space rather than fixed settings.Joey shares lessons learned from artists including Carmen McRae, Jim Hall, John Abercrombie, Steve Kuhn, Bill Frisell, David Bowie, Brian Eno, and Laurie Anderson.Losing his cymbals early in his career forced him to rethink his relationship with equipment and focus on creating sound from whatever instruments were available.Joey reflects on why great musicians never waste notes and how silence is often one of music’s most powerful tools.We explore the value of musical curiosity beyond genres and why listening broadly shaped his artistic voice.Joey discusses his current work in Europe and why creating music that genuinely moves people remains his guiding purpose.Music from the Episode Faith in You - Marc JohnsonYou Bet - John ScofieldJust You, Just Me - Joey Baron & MixMonkOutside - David BowieAbout the PodcastThe Bandwich Tapes is a long-form interview podcast where I sit down with musicians, composers, producers, and music industry veterans to explore the creative decisions that shape great music. Together we dig into artistry, collaboration, musical philosophy, and the experiences that define a lifetime of making music. Connect with the ShowEmail: contact@thebandwichtapes.com

    Joey Baron: Why Great Musicians Don’t Waste Notes

  7. Sep 14

    Joby Burgess: Solving Musical Problems One Sound at a Time

    On this episode of The Bandwich Tapes, I sit down with acclaimed percussionist Joby Burgess for a fascinating conversation about life as one of the world’s most in-demand recording musicians. From film scores and orchestral performances to contemporary classical music and solo projects, Joby shares what it really means to build a career grounded in versatility, collaboration, and an endless curiosity about sound. We talk about the unique challenges of being a modern percussionist, where every project might require a completely different set of instruments, techniques, and musical vocabulary. Joby explains how he prepares for sessions, why he thinks of collections of percussion instruments as a single musical voice, and how years of experience have taught him to focus on melody, phrasing, and storytelling rather than simply striking objects. Our conversation also explores the creative process behind recording major film scores, including his work with Ludwig Göransson on The Odyssey. Joby offers a rare behind-the-scenes look at how composers, producers, engineers, and percussionists collaborate to discover sounds that often don’t yet exist. From bringing collections of gongs into the studio to improvising solutions with whatever objects are nearby, every recording session becomes an exercise in creative problem-solving. Along the way, we revisit the music that shaped Joby’s artistic path, including Stravinsky, Frank Zappa, Edgard Varèse, and contemporary composers such as Steve Reich and Morton Feldman. It’s a conversation about listening deeply, embracing collaboration, and discovering that a great percussionist is often as much a musical problem solver as a performer. Key Takeaways Joby explains how modern percussionists constantly shift between instruments while maintaining a single musical voice.We discuss the similarities between performing contemporary classical music and recording major Hollywood film scores.Joby shares how collaboration with composers often begins long before recording, helping shape the palette of sounds available for a project.He offers behind-the-scenes insight into recording The Odyssey with Ludwig Göransson and the creative process of finding the perfect percussion sounds.We explore the influence of Frank Zappa, Stravinsky, Edgard Varèse, Steve Reich, and other composers on Joby’s musical development.Joby reflects on why experience, adaptability, and problem-solving have become some of the most valuable skills in his career.We discuss the importance of learning from master musicians and why observing great players can be as valuable as formal instruction.Music from the Episode Psappha (Iannis Xenakis) - Joby Burgess, percussionThe King of Denmark (Morton Feldman) - Joby Burgess, percussionTroy, from The Odyssey (Ludwig Göransson) - Joby Burgess, percussionConcerto for Bass Drum and Orchestra (Gabriel Prokofiev) - Joby Burgess, percussionAbout the PodcastThe Bandwich Tapes is a long-form interview podcast where I sit down with musicians, composers, producers, and music industry veterans to explore the stories behind their careers, creative process, collaborations, and musical philosophy. Every episode goes beyond biography to examine how great music is actually made. Connect with the ShowEmail: contact@thebandwichtapes.com

    Joby Burgess: Solving Musical Problems One Sound at a Time

  8. Sep 10

    Aubory Bugg: Finding the Song in the World Around You

    On this episode of The Bandwich Tapes, I sit down with singer-songwriter Aubory Bugg for a conversation about songwriting, collaboration, musical identity, and the experiences that shaped her forthcoming album, I Think I Had Something Once. Aubory grew up in Granite City, Illinois, just outside of St. Louis, and we talk about how that small-town perspective continues to find its way into her writing. She explains how songs like “Steel Mill Town” helped her move beyond writing exclusively about her own emotions and toward observing the people, places, and details around her. We also talk about her move to Nashville and the community she has found among a close group of independent folk singer-songwriters. We spend a good part of the conversation digging into craft. Aubory traces her path from singing as a child to trumpet, piano, and eventually guitar, including her time studying songwriting at Webster University and performing in jazz ensembles around St. Louis. She shares how studying with vocalist Debbie Lennon helped her move away from oversinging and begin thinking more carefully about why a vocal embellishment belongs in a song at all. Aubory also takes me inside the making of I Think I Had Something Once, including her work with producers and collaborators Matt and John. We talk about the value of creative tension, surrendering part of your original vision to trusted collaborators, recording vocals with only a handful of complete takes, and why bringing other musicians into the process has changed the way she thinks about making records. We also get into the wonderfully old-school story of Aubory walking into Dualtone with her guitar and playing two songs live—a decision that helped lead to her signing with the label. And we close by talking about her first headlining show in London, the connection that happens when people in another country know every word to your songs, and what she hopes to build as this new record makes its way into the world. Key Takeaways Growing up in Granite City, Illinois, gave Aubory an appreciation for small details, close communities, and the kind of observational writing that now plays an important role in her songs.Writing “Steel Mill Town” helped her realize that some of her strongest songwriting happens when she turns her attention outward and writes about the world around her.Aubory’s musical background includes singing, trumpet, piano, guitar, jazz ensembles, songwriting studies, live performance, and learning music production.Her time studying voice at Webster University taught her to think critically about vocal embellishment and to ask whether every riff, belt, or melodic choice is actually serving the lyric.Working with collaborators Matt and John has taught Aubory to embrace healthy creative tension and allow other musicians to challenge her original ideas.Her current vocal recording process often involves three or four complete takes followed by a comp, allowing her to preserve performances rather than constructing every phrase individually.Aubory’s belief that her music is best understood live helped inspire her to take a guitar into Dualtone and perform two songs in person—an approach she says played an important part in her signing with the label.Music from the Episode i think i had something once - Aubory Buggnosedive - Aubory Buggthe one you want to lose - Aubory BuggAbout the PodcastThe Bandwich Tapes is a music interview podcast hosted by Brad Williams featuring thoughtful conversations with musicians, songwriters, producers, and other creative people. Each episode goes beyond the résumé to explore how music gets made—the choices, relationships, influences, challenges, and experiences that shape a creative life. Connect with the ShowQuestions, comments, or guest suggestions? contact@thebandwichtapes.com

    Aubory Bugg: Finding the Song in the World Around You
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Ratings & Reviews

5
out of 5
16 Ratings

About

The Bandwich Tapes is a podcast where host Brad Williams sits down with musicians for thoughtful conversations about the craft of making music. Each episode explores the experiences, influences, and creative decisions that shape an artist’s work. From improvisation and songwriting to collaboration, recording, and life on the road, the conversations go beyond biography to focus on how music actually gets made. Guests include instrumentalists, composers, songwriters, and producers from across the musical landscape. The tone is relaxed, curious, and musician-to-musician—an opportunity to hear artists reflect on their process, their collaborators, and the musical moments that have stayed with them. Whether you're a seasoned musician, a die-hard music fan, or simply someone who loves a good story, The Bandwich Tapes has something for everyone. So, come along for the ride as we explore the magic of music and the incredible journeys of the people who bring it to life.

Information

  • Creator
    Brad Williams
  • Years Active
    2023 - 2026
  • Episodes
    187
  • Rating
    Explicit
  • Copyright
    © 2026 BSW Productions
  • Show Website
    The Bandwich Tapes

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