On this episode of The Bandwich Tapes, I sit down with percussionist Jake Nissly, Principal Percussionist of the San Francisco Symphony, for a conversation about what it actually takes to build and sustain a career at the highest level of orchestral playing. Jake’s résumé is remarkable, but what stands out even more is the range of hats he wears: orchestral musician, soloist, educator, department chair at the San Francisco Conservatory of Music, drum set player, former drum corps kid, and even Little League coach.

We spend time unpacking the reality of orchestral auditions, the intense preparation, the psychological pressure of playing behind a screen, and the almost figure-skating-level precision required to compete in that world. Jake walks through his own path: winning the Detroit Symphony job at 26, then later the Cleveland Orchestra, and ultimately facing the difficult experience of not receiving tenure. Rather than ending his trajectory, that moment reshaped it and eventually led him to the San Francisco Symphony.

One of my favorite parts of this conversation centers on Jake’s concept of feel. He credits much of his orchestral success to his background in drum set and drum corps, where groove, flexibility, and listening are everything. That experience, he says, translates directly into orchestral playing, even in repertoire like Mahler or Ravel’s Bolero, where there’s still a pocket to find if you’re listening closely enough.

We also talk about teaching and the changing landscape for young musicians. Jake shares thoughtful insights about how YouTube and digital access have transformed preparation, often producing incredibly polished players who sometimes struggle to develop ownership, personality, and soul in their playing. It’s an honest conversation about pedagogy, resilience, and the kind of musicianship that lifts everyone in the room.

Key Takeaways

• Orchestral auditions demand extraordinary precision — success often comes down to microscopic musical details.
• Career paths are rarely linear — setbacks can become turning points rather than endings.
• Groove matters in orchestral music — Jake’s drum set and drum corps background inform his orchestral feel.
• Listening is the core skill — great musicians adjust in real time to the ensemble around them.
• Technical mastery alone isn’t enough — personality and ownership bring music to life.
• Teaching requires adapting to new generations — digital resources have reshaped how students prepare.
• Leadership in music is collaborative — the best players elevate the entire ensemble.

Music from the Episode

• John Adams - City Noir: I. The City and its Double - St. Louis Symphony (David Robertson, conductor) - Jake Nissly - drum set
• Adam Schoenberg - Losing Earth: Concerto for Percussion & Wind Ensemble - The University of Texas Wind Ensemble (Jerry Junkin, conductor) - Jake Nissly - percussion

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

On this episode of The Bandwich Tapes, I sit down with Elizabeth Ziman of Elizabeth & the Catapult, and at the time of this conversation, she’s about to release her new album. Now that the record is officially out in the world, we get to talk about everything that went into bringing it to life.

We begin right at that moment, standing on the edge of a release. Elizabeth describes the feeling of finally letting go of a project after years of writing, recording, and refining, comparing it to sending something deeply personal out into the world and hoping it finds its place.

From there, we dig into how this album differs from her past work. What started as scattered home recordings across multiple cities eventually became a deeply collaborative project, bringing together friends, choir members, and longtime collaborators. It’s a record shaped not just by sound, but by movement, transition, and a desire to reconnect after a period of isolation.

We also spend time talking about something that really resonates: the balance between perfectionism and letting go. Elizabeth shares how some songs took years to finish, while others were written and recorded quickly, and how learning to trust both processes has been a major part of her growth as an artist.

There’s also a fascinating conversation about the realities of being an independent artist today, the tension between creating meaningful work and navigating the demands of social media, promotion, and constant visibility. Elizabeth speaks candidly about that push and pull, and how she tries to stay grounded in what actually matters: the music and the connection it creates.

One of my favorite moments in this episode is going full circle, talking about seeing her live back in 2009 at Eddie’s Attic in Atlanta. That moment becomes a springboard into reflecting on a nearly 20-year career, and how her perspective on music has shifted from “this is hard” to “I get to do this.”

We also explore her background, from classical piano and Manhattan School of Music competitions to Berklee, where she found her artistic voice and began collaborating with musicians like Esperanza Spalding. Along the way, we talk about film scoring, directing a women’s choir, and the many creative paths that continue to shape her work.

This is a conversation about evolution, perspective, and learning to hold both discipline and freedom at once.

Key Takeaways

• Elizabeth Ziman’s new album is now out, marking a deeply collaborative and expansive creative chapter.
• The project began as home recordings across multiple cities before evolving into a full studio production.
• Balancing perfectionism with spontaneity has become central to her songwriting process.
• The modern music landscape presents both opportunities and challenges, especially around visibility and promotion.
• Nearly 20 years into her career, her perspective has shifted toward gratitude and creative freedom.
• Her background in classical piano and Berklee continues to influence her work today.
• Collaborating across disciplines—film scoring, choir directing, and teaching—feeds her creativity.

Music from the Episode

• Responsible Friend - Elizabeth and the Catapult
• 50/50 - Elizabeth and the Catapult
• Bored of Myself - Elizabeth and the Catapult
• I Love You Still - Elizabeth and the Catapult

About the Podcast

The Bandwich Tapes is my chance to sit down with musicians, songwriters, and creative artists for thoughtful conversations about their craft, their journey, and the experiences that shape the music we hear.

Connect with the Show

Email: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Ryan Dart for a conversation that goes far beyond music, into growth, healing, and what it really means to live honestly as an artist.

We start with Ryan’s songwriting process, which is less of a routine and more of a way of life. Whether he’s hiking, sitting in a restaurant, or wrapping up the day, writing has become a daily practice, one that serves as both therapy and a way to process the world around him.

From there, we rewind to his early years, growing up in rural Arkansas, surrounded by music from artists like Bob Dylan, Johnny Cash, and Townes Van Zandt. That foundation shaped not only his sound but also his approach to storytelling and songwriting.

Ryan shares his unique journey through the music industry, working as a producer, engineer, tour manager, and guitar tech, including time on major tours with bands like The Who, Aerosmith, and Van Halen. Seeing the industry from every angle could have pushed him away from music, but instead, it clarified his purpose.

We spend a lot of time discussing something at the center of this episode: growth through hardship. Ryan opens up about going through a divorce, rebuilding his life, and how that process completely reshaped his songwriting. Rather than rushing to document heartbreak, he allowed time and healing to transform those experiences into something deeper and more honest.

That same honesty carries into a conversation about sobriety, self-awareness, and learning to let go of people-pleasing. Ryan talks about how removing those layers has opened his creativity in ways he never had access to before, and how writing from a place of truth has changed everything.

We also get into the practical side of his current creative life, recording his new album in Colorado, committing to writing and releasing a new song every week, and building a body of work that reflects who he is right now.

This is a conversation about starting over, trusting the process, and creating from a place that’s real.

Key Takeaways

• Ryan Dart approaches songwriting as a daily practice rooted in observation and emotion.
• His early influences—from Bob Dylan to Johnny Cash—shaped his storytelling voice.
• Working behind the scenes in the music industry gave him a full perspective on the business.
• Growth through divorce and personal reflection led to a completely new songwriting voice.
• Sobriety and self-awareness have opened up a deeper level of creativity.
• Letting go of people-pleasing has allowed him to write more honestly.
• His weekly songwriting project is building both discipline and a large creative catalog.

Music from the Episode

• If Love Don't Break You - Ryan Dart
• Dirt Road Woman - Ryan Dart
• Dancin' On Your Porch - Ryan Dart

About the Podcast

The Bandwich Tapes is my chance to sit down with musicians, songwriters, and creative artists for thoughtful conversations about their craft, their journey, and the experiences that shape the music we hear.

Connect with the Show

Email: contact@thebandwichtapes.com

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

About the Episode

On this episode of The Bandwich Tapes, I sit down with singer and songwriter Aubrie Sellers for a conversation about her remarkable new album Attachment Theory, and the deeper creative world she built around it. I had already been listening to the record ahead of our talk, and what struck me immediately was how singular it feels: cinematic, emotionally sharp, and sonically timeless in a way that somehow feels both old and futuristic at once.

We talk about how Attachment Theory became a true concept record. Aubrie explains that she did not start with a concept and then write toward it. Instead, the songs gradually revealed a shared emotional center, all circling relationship patterns, vulnerability, and the psychology of connection. That realization eventually led to one of the most interesting parts of the project: a companion podcast, with one episode tied to each song, exploring attachment theory and relationship dynamics in a more direct and concrete way.

One of my favorite parts of this conversation is hearing Aubrie talk honestly about performance anxiety, introversion, and learning how to shape a music career around who she actually is as a person. She shares how severe stage fright marked her early touring years, how working on her general anxiety changed things more than simple repetition ever did, and how she has become more intentional about saying yes only to the kinds of opportunities that actually fit her life and temperament.

We also dig into the sound of the record, her longtime collaboration with Ethan Ballinger, the atmospheric textures and vocal treatments, the influence that shows up in places, and why the album feels so cinematic. Aubrie talks about the value of leaving room for experimentation in the studio, letting musicians bring their own voice into the process, and making something polished without sanding off all the soul.

Along the way, we also talk about Nashville, bluegrass, rawness in music, social media, and the freedom that comes from creating on your own terms. This is a thoughtful conversation about identity, vulnerability, artistry, and building a creative life that feels honest.

Key Takeaways

• Attachment Theory grew into a concept record naturally — the songs revealed a shared emotional thread before the full concept came into focus.
• The companion podcast adds another layer — each episode expands on the emotional themes of a song through relationship psychology and personal reflection.
• Introversion and artistry can coexist — Aubrie has worked to build a career structure that actually fits who she is.
• Performance anxiety does not always disappear on its own — mindset and emotional work can matter as much as experience.
• A polished record can still feel raw — the goal is clarity and atmosphere without losing soul or imperfection.
• Social media can be used with intention — Aubrie has found ways to connect authentically without treating it as empty content churn.
• Honesty is the through line — whether it is country, bluegrass, rock, or something in between, the music that moves her comes from a real place.

Music from the Episode

• Subatomic - Aubrie Sellers
• Trigger Happy - Aubrie Sellers
• Delusional - Aubrie Sellers
• Little Rooms - Aubrie Sellers

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 stories, influences, and experiences that shape a life in music—one conversation at a time.

Connect with the Show

Email: contact@thebandwichtapes.com

About the Episode

On this episode of The Bandwich Tapes, I sit down with keyboardist, arranger, bandleader, and all-around musical Swiss Army knife Jeff Babko. Jeff is one of those musicians whose career quietly spans an incredible range of musical worlds, from television and touring to studio work and bandleading, and our conversation ends up feeling like a masterclass in how to build a life in music while staying curious and grounded.

We start in the present, where Jeff has recently stepped into a larger leadership role on Jimmy Kimmel Live! following the passing of longtime music director Cleto Escobedo. Jeff reflects on what that responsibility means to him and how leading a band in that environment requires both musical preparation and a deep sense of trust and respect for the musicians around you.

From there we rewind to an important musical turning point. Jeff tells the story of seeing James Taylor live in college, backed by a band that included Don Grolnick, Jimmy Johnson, Mike Landau, and Carlos Vega. For Jeff, that moment crystallized what “grown-up musicianship” could look like—players serving the music with taste, humility, and deep craft.

We also talk about Jeff’s time at the University of Miami’s Frost School of Music and the lifelong community that came out of those years. That theme of musical community carries into his long-running collaboration with Steve Martin and Martin Short, where Jeff has learned firsthand how musical timing and comedic timing often work the same way. Playing for comedians, it turns out, requires the same instincts as great improvisation.

Toward the end of the conversation, we zoom out to bigger questions: legacy, awards, AI, and what actually lasts in a musical life. Jeff shares a perspective I really love: the most meaningful musical moments often aren’t the ones captured online. They’re the warm-up before a taping, the look between bandmates, or the feeling of someone in the audience connecting with the music in real time.

Key Takeaways

• Versatility is a career advantage — Jeff’s work spans television, touring, arranging, and bandleading.
• Leadership grows from trust and preparation — especially in environments like Jimmy Kimmel Live!.
• Seeing great musicians early can shape a path — Jeff’s experience watching James Taylor’s band left a lasting impression.
• Musical communities matter — relationships formed in school and early careers often last decades.
• Comedy and music share timing instincts — playing for comedians requires the same listening and responsiveness as improvisation.
• Humility sustains a career — serving the music and the band keeps the work meaningful.
• The most powerful musical moments are human ones — often unseen and impossible to capture online.

Music from the Episode

• Head Trauma - Mondo Trio (Jeff Babko, Jeff Coffin, & Vinnie Colauita)
• International Client - Jeff Babko
• Franklin - Jeff Babko
• Nostalgia is For Suckas - Jeff Babko

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

On this episode of The Bandwich Tapes, I sit down with singer and songwriter Tenille Townes for a conversation about truth, freedom, and the long road back to yourself. I’ve admired Tenille’s writing and singing for a long time, and one of the first things I tell her in this conversation is simple: when she sings, I believe her. That kind of authenticity sits at the center of everything we talk about.

We spend a lot of time on her new independent album and what it means to release music on her own terms. Tenille shares how the record began in a deeply personal way—just her, a guitar, and a room at home, trying to find the truth in the songs again after stepping away from the major label system. What started as demos turned into the record itself, and in that process she found something bigger than a new batch of songs. She found her voice again.

One of the most powerful parts of this conversation is our discussion of “Enabling,” a song that speaks directly to love, boundaries, self-abandonment, and the complicated emotional patterns we carry through relationships. Tenille talks about writing it after a real-life moment that forced her to look honestly at her own habits—especially the way people-pleasing can blur into losing yourself. It’s one of those songs that says something difficult with incredible clarity.

We also talk about what independence has given her creatively. Tenille describes this season as a return to the fearless spirit she had when she first moved to Nashville—a feeling of having everything to prove, nothing to lose, and joy at the center of the process. That freedom shows up not only in the songs, but in the way she’s choosing to release and share the record now.

Along the way, we get into her early love of music, the voices and records that shaped her, growing up in the wide-open landscape of Grande Prairie, Alberta, the courage it took to send a CD to Bryan Adams and ask him to sing on a song, and the incredible heart behind her long-running Big Hearts for Big Kids fundraiser. This is a conversation about songwriting, healing, home, and having the nerve to leap when something matters.

Key Takeaways

• Authenticity is everything — when Tenille sings, the emotional truth of the song comes through immediately.
• Independence can bring creative freedom — releasing this record on her own terms helped her reconnect with her artistic instincts.
• Sometimes the demo is the record — simple guitar-and-vocal recordings became the emotional core of this project.
• “Enabling” is about more than one relationship — it also reflects patterns of self-abandonment and people-pleasing.
• Home shapes the writing — the open skies and emotional landscape of northern Alberta remain part of her creative fingerprint.
• Taking the shot matters — whether calling a promoter at age 10 or mailing a CD to Bryan Adams, Tenille keeps acting on bold instincts.
• Music can be a force for real change — her Big Hearts for Big Kids work shows how songs and community can directly support people in need.

Music from the Episode

• Ordinary Love Song - Tenille Townes
• Enabling - Tenille Townes
• The Acrobat - Tenille Townes with Lori McKenna
• The Thing That Wrecks You - Tenille Townes & Bryan Adams

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 stories, influences, and experiences that shape a life in music—one conversation at a time.

Connect with the Show

Email: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with guitarist and composer Bob Lanzetti, best known as one of the founding members of Snarky Puppy. I’ve admired Bob’s playing for a long time, so getting the chance to talk with him felt especially meaningful. We begin with something many musicians quietly carry with them: the fear of hand issues and how that concern evolves over the course of a career. Bob reflects honestly on how he thinks about it now compared to earlier years.

From there, we rewind to the beginning—growing up around his dad’s guitar, discovering The Beatles, and the simple invitation that changed everything: “Learn this song and you can sit in with my band.” That moment set Bob firmly on the path toward becoming a guitarist. He traces his journey through early mentors, jazz studies, and eventually to the University of North Texas, where he found a musical community that would change his life—and where Snarky Puppy first came together.

We spend time talking about the musical ecosystem around North Texas as well, especially the gospel and R&B scenes that shaped Bob’s ear in ways the classroom couldn’t. Bob shares how Snarky Puppy actually learns and rehearses music—often through oral tradition, demos, and Logic sessions—and how the band’s three-guitar setup works without stepping on each other’s sonic space. Along the way, he reflects on something younger musicians often overlook: the importance of restraint, listening, and self-balancing within a band.

One of my favorite parts of the conversation centers on Bob’s Nosferatu project, where he composed and performed an original score for the classic silent film during the COVID years. That project opened the door to exploring 20th-century classical textures, string writing, layered guitars, and production techniques. We wrap up by talking about the wide range of influences that shape Bob’s music—from Charlie Christian and Jim Hall to Sonic Youth and Derek Bailey—and what’s ahead in 2026, including GroundUP Festival, touring with Snarky Puppy alongside the Metropole Orchestra, his trio work, and the growing role of producing in his creative life.

Key Takeaways

• Musicians confront physical concerns over time — long careers require resilience and perspective.
• Early invitations can shape a life path — a simple opportunity to sit in with a band set Bob on the guitar journey.
• Community matters — the University of North Texas and the surrounding Dallas scene were foundational for Snarky Puppy.
• Listening and restraint define great band playing — especially in complex ensemble settings like a three-guitar lineup.
• Musical learning often happens by ear — oral tradition and demos play a huge role in how bands develop material.
• Creative side projects expand the palette — Bob’s Nosferatu score opened the door to new textures and production ideas.
• Producing can become another creative outlet — shaping the sound of recordings scratches the same itch as performing.

Music from the Episode

• B - Bob Lanzetti
• Anonymous - Bob Lanzetti
• The Seven Deadly Sins (from Nosferatu) - Bob Lanzetti
• Jenny is a Donkey - Bob Lanzetti

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