On this episode of The Bandwich Tapes, I sit down with drummer and composer Beth Goodfellow, a musician whose touch, curiosity, and musical sensitivity have made her a sought-after collaborator across genres.

We begin with her long musical relationship with Iron & Wine, and how working with Sam Beam has shaped the way she thinks about rhythm and ensemble playing. Beth shares how Sam’s drummer-minded approach to guitar creates a uniquely interactive musical space, and why that dynamic has been such a natural fit for her instincts as a drummer.

We also talk about Beth’s recent move from Los Angeles to Tucson, Arizona, a shift that has reinvigorated her creative life. After spending nearly 350 of 500 days on the road, she made the intentional decision to lower her overhead, slow down, and build space for new creative work. Tucson’s vibrant music community—connected to artists like Calexico and Giant Sand—has quickly become a new source of inspiration.

One of the most fascinating parts of our conversation is Beth’s marimba looping project. What began as a pandemic experiment—exploring Steve Reich–inspired patterns she could sing over—has grown into a fully realized live performance concept. She explains her intentionally simple setup (two SM57s and a Boss looper) and how she’s now expanding the music into a band context.

Along the way, we explore her journey through trad jazz gigs in Northern California, classical percussion studies at San Jose State, touring with the Air Force National Guard Band, restaurant gigs that taught her the art of playing softly, and recording live with pianist Matt Rollings at Valentine Studios. It’s a conversation about nuance, groove, mentorship, loss, and the importance of carving out time and space to build something of your own.

Key Takeaways

• Why Beth Goodfellow’s musical chemistry with Iron & Wine works so naturally
• How moving from Los Angeles to Tucson reshaped her creative life
• The story behind her marimba looping project and minimalist gear setup
• Lessons learned from early trad jazz gigs and restaurant performances
• Recording live in the room with Matt Rollings at Valentine Studios
• What it means to step fully into your own artistic lane after years as a collaborator

People Mentioned

• Beth Goodfellow
• Sam Beam (Iron & Wine)
• Matt Rollings
• Steve Reich
• Artists connected to Calexico
• Artists connected to Giant Sand

Music from the Episode:

• Reconnecting the Disconnect (Beth Goodfellow)
• Shut Up Moon (Part 2) (Beth Goodfellow)
• Travellers Prayer (Beth Goodfellow)
• San Joaquin (Beth Goodfellow)
• Groove with a View (Matt Rollings)

About the Podcast

The Bandwich Tapes explores the craft of music through thoughtful conversations with the artists who make it. Each episode dives into creative process, collaboration, touring life, and the stories behind the music.

Connect with the Show

If you have questions, feedback, or ideas for future guests, feel free to reach out:

📧 brad@thebandwichtapes.com

In this episode, I sit down with Taylor Eigsti, and this conversation goes everywhere I hoped it would. We talk about preparation versus spontaneity, writing music that leaves room for the present moment, and why the best ensembles feel more like carefully cast films than perfectly rehearsed machines.

Taylor shares what it’s been like working recently with Michael League, Ben Wendel, Kendrick Scott, Antonio Sánchez, and others, and we get deep into his compositional mindset—why quantity matters, why “bad ideas” are necessary, and how composition is a muscle that has to be exercised. We also talk about his Grammy-winning albums Tree Falls and Plot Armor, the long studio hours behind them, and why recognition doesn’t always translate the way people expect.

Along the way, we hit on collaboration, identity, touring life, teaching, football fandom, and what it really means to show up prepared and fully present for the moment that actually matters—the short window onstage when everything finally comes alive.

Music from the Episode:
Let You Bee (Taylor Eigsti)
Bucket of F's (Taylor Eigsti)
Look Around You (Taylor Eigsti)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

I sat down with Janie Barnett, a singer, songwriter, arranger, and educator whose career reflects a steady commitment to saying yes to what fits and no to what does not.

We begin with her roots in the Greater Washington area, where summers at the Smithsonian Folklife Festival and early exposure to roots music shaped her ear. Moving to New York was a shock. The city carried a gritty, post-Patti Smith energy and felt like a long search for a new urban Americana sound. Janie found her footing through community, especially friendships with Robin Batteau and Kenny White. Session work, including jingles, gave her financial stability and the freedom to keep her songwriting honest rather than chasing a paycheck through her own music.

We talk about life behind the scenes and what it taught her about leadership. Janie shares stories from sessions with Linda Ronstadt and a career highlight singing background vocals on Saturday Night Live with Rickie Lee Jones, one of her musical heroes. Being on the team shaped how she leads her own bands, creating rooms where musicians feel respected and invited to contribute.

She also reflects on how becoming a parent changed her artistry. Her songs deepened, her priorities clarified, and the work stopped feeling precious in the face of real life.

We spend time on her project Under My Skin, a reimagining of Cole Porter through an acoustic Americana lens. What began as a guitar idea for I’ve Got You Under My Skin grew into a pandemic-era collaboration with an extraordinary group of musicians, including Carmela Ramsey and Jerry Douglas, many of whom recorded from home studios. The album proves Porter’s writing is timeless, and Janie’s voice brings it all together.

We close with her work at Berklee, where she mentors singer-songwriters and leads ensembles. She speaks candidly about the pressures of constant content and social media, and the importance of building real community and a live musical life. Looking ahead, she is planning a vinyl release of the Cole Porter project, aiming for a show around Porter’s birthday in June, and working toward a new record of original songs with a clearer strategy for getting it into the world.

Music from the Episode:
LIfe Is Long and Then It's Not (Janie Barnett)
Delaware Bridge (Janie Barnett)
If You Were Here (Janie Barnett)
I've Got You Under My Skin (Janie Barnett)
Night and Day (Janie Barnett with Keith Sewell)
You're the Top (Janie Barnett with Catherine Russell)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.