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.

This episode is a special one for me: Steve Gadd.

Steve is not just a great drummer. He is one of those rare musicians whose feel and sound are instantly recognizable. A few seconds in, and you know it's him. He has been a first-call presence on recordings and tours for decades, and somehow, he makes the most complex things feel relaxed and human. Spending time with him for this conversation was a real honor.

We begin in the present. In 2026, Steve is still moving forward with curiosity and purpose. He talks about starting the year with the Love Rocks benefit in New York, touring Europe with Michael Blicher and Dan Hemmer, rehearsing and touring with Paul Simon, and heading out again with James Taylor. Later in the year, he is back with Simon Oslender and Will Lee, a project that clearly brings him joy. You can hear how much he values character, maturity, and the spirit of the bandstand.

We trace the roots of his musicianship through his time in the Army Field Band during the Vietnam era. Daily chart reading sharpened his time, discipline, and mindset. It was not always fun, but it was formative. He also reflects on mentorship, from Stanley Street to John Beck, and how those teachers shaped not just his hands but his confidence and identity.

Steve speaks candidly about insecurity and imposter syndrome, about how reading is a skill that fades without use, and how repetition is the real secret. No shortcuts. We also dive into sound, volume, and dynamics. He shares his thoughts on live versus studio playing, the challenges of modern stage volume, and why the best shows begin at a real level and let the music breathe.

What stays with me most is his philosophy. It is not about ego. It is about service, supporting the song, making the artist comfortable, and being a good teammate. This conversation captures a legend who is still learning, still listening, and still chasing feel and sound in the purest way.

Music from the Episode:
I Gotta Try (Michael McDonald)
On a Roll (Live) (Simon Oslender)
September Grass (James Taylor)
My Rival (Steely Dan)

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

In this episode, I’m joined by Simon Oslender, and I’m not exaggerating when I say his playing lit me up the first time I heard it: pure joy, but with real depth underneath. We talk about growing up in a deeply musical home, starting on drums, and the exact “big bang” moment when a John Mayall live DVD (and Tom Canning on Hammond B3) made Simon lock in on the organ for life.

We get into Simon’s early recording experiments, how he writes (often away from the instrument, grabbing voice memos before ideas disappear), and his relationship with theory—especially his favorite framing: theory shouldn’t tell you what to do, it should explain what you’re hearing. And then we go deep on the dream-team reality of All That Matters: recording with Steve Gadd and Will Lee and how that session turned into a tour, and what it takes to keep your head straight when your heroes show up fully prepared to play your music.

Music from the Episode:
On a Roll (Simon Oslender)
In Good Hands (Simon Oslender)
Cruisin' (Simon Oslender)
Quite Logical (Simon Oslender)

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

I got to sit down with Alison Prestwood, an A-list bassist, singer, and bandleader whose playing has been anchoring records and stages for decades, and it felt like catching up with someone I should’ve known for years.

We talked about her leap from Atlanta to Nashville in the early ’90s, what it’s like leaving steady work to chase the next chapter, and how those five-to-six-nights-a-week club years built the kind of chops and confidence that translate anywhere. Alison shares the winding path that led her into Nashville’s session world (including a wild early moment overdubbing on a Ronnie Milsap master), and how hearing players like Glenn Worf and Michael Rhodes up close pushed her into that “forever climbing” mindset that great musicians live in.

She also goes deep on her musical north stars: Paul McCartney, James Jamerson, Willie Weeks, Lee Sklar, and especially Carol Kaye, including an incredible story about spending a full weekend at Carol’s house working on pick technique and soaking up stories and wisdom.

From there, we get into the nuts and bolts: how Alison thinks about the difference between R&B feel vs. country feel, note length, subdivisions, and the “rules” you learn in Nashville, plus when to break them. She’s also launching a brand-new Merle Haggard tribute band called We Are the Merle.

We also talk about her time touring with Peter Frampton, how that gig came together, what it’s like playing major stages (including the Rock & Roll Hall of Fame experience), and the weight and gratitude of watching a legend keep doing the work.

And because Alison is also a fellow podcaster, we dig into her show “Hey, Good For You”, a funny, honest, and sharp look at life as a working bassist (and the absurd things people say to women musicians).

It’s part career map, part hang, part deep musicianship chat, and by the end, we basically agree this needs to be part one.

Music from the Episode:
Nadine (Is It You) (George Benson)
Turning Waylon Down (Alison Prestwood)
Austin (Blake Shelton)
Beautiful Man (Alison Prestwood & Rodney Crowell)

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

In this episode, I sit down with singer-songwriter CJ Hooper to talk about building songs—and confidence—as an independent artist without rushing the process. We dig into how moving from Texas to Washington shaped his musical perspective, and why honest, story-driven country music seems to resonate no matter where you live.

CJ and I talk about releasing Over Yonder, his second album just a year after his debut, and the surprisingly self-confronting experience of hearing your own voice back in the studio. We also get into early cassette-tape influences, playing in a band with musicians decades older than him, cutting his teeth at open mics, and slowly figuring out how his original songs want to live in the world. It’s a conversation about patience, craft, and letting the work grow naturally—one song at a time.

Music from the Episode:
Burn it Down (CJ Hooper)
Lookie Over Yonder (CJ Hooper)
Rain Song (CJ Hooper)

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

The theme song, "Playcation", was written by Mark Mundy.

In this episode, I sit down with percussionist Colin Currie for a wide-ranging conversation about curiosity, originality, live performance, and the lifelong pursuit of musical meaning. Colin is one of the most influential percussionists of our time, known for his deep commitment to contemporary music, his close collaboration with composers, and his transformative interpretations of Steve Reich’s work. This conversation explores how curiosity, patience, and listening have shaped his career and his approach to music-making.

We begin by talking about technology, access to recordings, and the changing landscape of music education. Colin reflects on growing up in a time when discovering music required effort, intention, and physical presence in libraries and record shops. He shares concerns about students learning pieces by copying online performances rather than developing their own ideas, and he speaks passionately about the importance of solitude, curiosity, and learning music on one’s own terms.

Colin traces his musical beginnings back to early childhood, from piano lessons at age five to his first drum lesson at six, describing the joy, excitement, and physical energy that initially drew him to percussion. He talks about how that sense of wonder has never left him and why live performance remains a magical, irreplaceable experience. We explore why percussion continues to evolve so rapidly, how technique has advanced across the field, and why musical intent always matters more than virtuosity alone.

A significant portion of the conversation focuses on Colin’s connection to contemporary music and the composers who shaped his artistic identity. He describes hearing The Rite of Spring as a teenager, discovering post-war modernist composers through library scores, and developing an instinctive attraction to music that felt strange, challenging, and unfamiliar. Colin shares how his love for new music was never about understanding it intellectually, but about responding to it emotionally and instinctively.

We also dive deeply into Colin’s relationship with Steve Reich, including their first meeting, their long-standing collaboration, and the formation of the Colin Currie Group. Colin reflects on recording Music for 18 Musicians at Abbey Road Studios, explaining how the goal was to capture the intensity and emotional risk of live performance rather than create a polished studio artifact. He talks about groove, sonority, emotional depth, and why Reich’s music demands both precision and expressive freedom.

Colin discusses his growing role as a conductor and how stepping onto the podium has changed the way he listens, leads, and collaborates with ensembles. He shares stories from recent performances, lessons learned from orchestral musicians, and how listening remains the central skill, whether playing or conducting. We also talk about his record label, Colin Currie Records, crowdfunding new projects, and the upcoming release of a Steve Reich album featuring Sextet, Double Sextet, Six Marimbas, and Dance Patterns.

As we look ahead, Colin reflects on 2026 as a landmark year, including Steve Reich’s 90th birthday, dozens of performances of Reich’s music worldwide, and the premiere of Colin’s 40th percussion concerto. This is a thoughtful, inspiring conversation about curiosity, commitment, and the lifelong responsibility of serving music.

Music from the Episode:
Mallet Quartet (Steve Reich - Colin Currie Group)
Music for 18 Musicians - Section VI (Steve Reich - Colin Currie Group)

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