The Bandwich Tapes

On this episode of The Bandwich Tapes, I sit down with pianist, composer, producer, and sound designer Dave Mackay for a thoughtful conversation about musical identity, touring life, and the creative possibilities that live between composition, improvisation, and sound.

Dave reflects on the strange rhythm of life on the road, especially after years of near-constant touring. We talk about the physical and emotional shift from playing for massive audiences to suddenly being home, and how that quiet space can bring a different kind of reflection. He speaks honestly about performance, nerves, and why playing the piano can feel natural while speaking into a microphone can still feel unnerving.

We also trace his musical path, from early piano lessons in England to his studies in London and at Berklee College of Music in Boston. Dave shares how a perceptive childhood teacher encouraged him not just to learn music, but to develop his own voice. That thread carries through the entire conversation, from his improvisational instincts as a child to the way he builds sounds, writes records, and approaches collaboration now.

A major part of our conversation centers on Dave’s remarkable body of original work, including his Three trilogy:  L.A., Nashville, and Utopia, and his album The Looking Chamber. We talk about the influence of the Esbjörn Svensson Trio, the creative chemistry of working in a trio format, and how sound design and composition constantly inform one another in his music. Dave also shares why he prefers creating his own keyboard patches rather than relying on presets, and how his relationship with Nord keyboards grew out of that sonic curiosity.

We close by talking about his work touring with Brandi Carlile, how that opportunity came together through Lucius, and why he remains passionate about live music that breathes naturally rather than being locked to click tracks and playback. It’s a conversation about artistry, listening, taste, and learning how to trust your own instincts, both on stage and in the studio.
Key Takeaways
Dave talks candidly about the physical and emotional reality of life on tour, and why the transition back home can feel just as intense as the touring itself.
He shares how improvisation has been part of his musical voice from the very beginning, even as a young piano student.
Dave reflects on the importance of great teachers and how one early mentor helped him develop his own sound rather than imposing someone else’s.
We discuss the origin of his Three trilogy — L.A., Nashville, and Utopia — and how those records grew out of improvisation, friendship, and experimentation.
Dave offers a fascinating look at sound design, explaining how creating his own patches and textures is integral to his compositional identity.
He talks about touring with Brandi Carlile and why live music feels most alive to him when musicians listen and respond in real time.
The conversation becomes a broader meditation on trust: trusting your ears, your collaborators, and the artistic choices that feel most like you.
Music from the Episode
All the Same - Dave Mackay
Here in the Vastness - Dave Mackay
Impulse - Dave Mackay
Prophecies - Dave Mackay
Trust Goddess - Dave Mackay
About the Podcast
The Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper musical ideas that shape their work. It’s a show about process, perspective, and the stories behind a life in music.
Connect with the Show
Email: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with drummer, collaborator, and educator Eric Doob for a wide-ranging conversation about sound, taste, collaboration, and what it really means to make music in today’s world. I first came across Eric’s playing through his work on Live From Here with Chris Thile, and I’ve been a fan ever since. From the very beginning of our conversation, it’s clear that Eric approaches music with a deep sense of curiosity and care, whether he’s performing, recording, producing, or teaching.

We spend time talking about his work with guitarist Matthew Stevens, including his role as both a drummer and a collaborator in shaping the sound of those records. Eric offers great insight into the importance of sonic identity, how the sound of the drums, the tuning, the cymbals, and even the engineer’s perspective can shape the emotional core of a track. It’s a thoughtful look at how sound itself becomes part of the composition.

Our conversation also dives into collaboration and the idea of “taste” as a guiding force. Eric shares how the strongest musical relationships often come from a shared aesthetic sensibility rather than just technical ability. We talk about bands, chemistry, and the unspoken communication that happens when musicians are truly aligned.

We also explore his path from growing up outside Boston to studying at Berklee College of Music and eventually building a life in New York. Along the way, Eric reflects on early musical experiences, the importance of access to live music, and how those formative years shaped his voice as a musician.

Toward the end of the conversation, we get into teaching, creativity, and the challenges of making music in an age of constant distraction. Eric shares some really thoughtful perspectives on how access to everything can be both a gift and a challenge, and why focused listening and presence might be more important than ever.

It’s a conversation about listening, really listening, to music, to collaborators, and to the moment you’re in.

Key Takeaways
Eric Doob discusses how sound—especially drum sound—can define the emotional identity of a track.
He shares insights into his collaboration with Matthew Stevens and the importance of long-term musical relationships.
We explore the idea that shared “taste” can be more important than technical ability in building great musical chemistry.
Eric reflects on his early musical experiences growing up near Boston and the importance of access to live music.
He talks about his evolving role in recording, producing, and shaping music beyond just playing drums.
We discuss teaching and how working with students has deepened his own understanding of music.
Eric offers a thoughtful perspective on modern music consumption, distraction, and the importance of focused listening.
Music from the Episode
Take Heart - Matthew Stevens
Three Card Molly - from Live From Here with Chris Thile
El Duelo - Diego Urcola Quartet
Tangled in the Endless Chain - Ryan Keberle & Catharsis
About the Podcast

The Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper musical ideas that shape their work. It’s a show about process, perspective, and the stories behind a life in music.

Connect with the Show

Email: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with bassist Tim Lefebvre for a conversation about groove, adaptability, tone, and what it really means to serve the music. Tim has built one of the most distinctive and wide-ranging careers in modern bass playing, with credits spanning jazz, rock, pop, experimental music, and singer-songwriter projects. From David Bowie’s Blackstar to Tedeschi Trucks Band, Wayne Krantz, and countless sessions in between, Tim has become one of those rare players whose sound is unmistakable yet fits almost anywhere.

We begin by talking about his 2026 so far, which includes recording work, short touring runs, a date with Nate Smith and Jason Lindner, upcoming shows in Italy with Tiziano Ferro, and a tour with Melissa Etheridge. From there, we get into one of the central tensions of a working musician’s life: how to bring your own identity to a project while still honoring the artist, the songs, and the original recordings. Tim has strong instincts here, and he speaks with great clarity about choosing simplicity, resisting overplaying, and understanding what the music actually needs.

One of my favorite parts of this conversation is hearing Tim talk about some of the landmark experiences in his career. We discuss the Bryan Adams tour, the joy of playing huge songs in front of large crowds, and then spend time on David Bowie’s Blackstar, including how Tim approached the sessions, how much of the rhythmic language was already implied in Bowie’s demos, and how some of the bass textures on songs like “Lazarus” emerged naturally in the room. Tim also reflects on the creative freedom and trust inside Tedeschi Trucks Band, and what it felt like to be part of a band that could take real improvisational chances in front of thousands of people.

Along the way, we talk gear, compression, pedals, picks, strings, remote recording, favorite drummers, the differences between New York and Los Angeles, sobriety, and some of the bass players who shaped his ear early on, including James Jamerson, Paul McCartney, Darryl Jones, Marcus Miller, Victor Bailey, Jaco Pastorius, and Tony Levin. This is a conversation about craft, but also about judgment, restraint, and learning to make the right choice in the moment.

Key Takeaways
Tim Lefebvre talks about balancing personal identity with the responsibility of serving the artist, the arrangement, and the song.
He shares stories from the making of David Bowie’s Blackstar, including how parts of “Lazarus” developed in the studio.
Tim reflects on the musical and emotional intensity of playing with Tedeschi Trucks Band and the freedom that the group allowed onstage.
He discusses his early path from saxophone to bass, his father’s influence, and learning on real gigs at a young age.
The conversation explores how bass playing varies with the drummer and what Tim listens for when locking in with someone new.
Tim also gets into gear, including pick playing, flats versus rounds, bass compression, distortion, reverb, and how pedals can shape creative ideas.
We talk openly about sobriety, professional growth, and how life experience changes the way a musician shows up on and off the bandstand.
Music from the Episode
Anyhow - Tedeschi Trucks Band
Shake Loose - Donny McCaslin
It's No Fun Not to Like Pop - Krantz/Carlock/Lefebvre
Hanging On - Knower
Blackstar - David Bowie
About the Podcast
The Bandwich Tapes is a podcast where I sit down with musicians, songwriters, producers, and creative people for thoughtful conversations about craft, collaboration, career, and the experiences that shape a life in music. It is a show about process, perspective, and the human side of making art.

Connect with the Show
contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with the extraordinary Wendy Moten for a conversation about longevity, versatility, professionalism, and the many different ways a singer can build a meaningful life in music. Wendy has one of those careers that musicians know and revere: a major-label artist in the 1990s, a world-class touring vocalist, a sought-after session singer, a member of the Grammy-winning Time Jumpers, a regular performer on the Grand Ole Opry, and, more recently, a powerful presence for a new generation of listeners through The Voice. What struck me most in this conversation is how clearly she understands her craft, her purpose, and the discipline required to sustain both.

We begin by talking about the busy season she is in now, balancing solo work, sessions, weekly performances with the Time Jumpers, and another major tour with Vince Gill. Wendy shares the story of how Vince first called her out of the blue after her run with Martina McBride had ended, and how that invitation opened an entirely new chapter in her career. From there, we get into what she calls her “version of country music,” and how she found it not by imitating the genre, but by studying its history, listening closely, and finding an authentic way to bring herself into the tradition.

One of my favorite parts of the conversation centers on harmony singing and what it really means to support another artist. Wendy talks beautifully about what she learned during 15 years as Julio Iglesias’s duet partner, including how to listen, how to match breath and phrasing, how to stay out of the way, and how to make someone else sound even better. She says she was “getting paid for self-control,” which is one of the best descriptions of professional background singing I have ever heard. That whole section of the conversation is full of insight for anyone who cares about what it means to serve the music at a very high level.

We also talk about church, family, and the support system that made her life in music possible. Wendy reflects on growing up in Memphis, singing in church, and learning early how to stand in front of people, even when she was shy and uncomfortable. She shares how much her parents sacrificed to create opportunities for her and her siblings, and how much those sacrifices still mean to her now. We also spend time talking about her Grand Ole Opry appearances, including the emotion of making her Opry debut without her parents there to see it, and the significance of standing on that stage as a Black woman in a space where history has not always made room for everyone.

Along the way, we get into her years at EMI, the pressure to be shaped into whatever version of success the label wanted at the time, and the freedom she eventually found by building a career outside the usual boxes. Wendy talks openly about not needing fame in the conventional sense, about loving the role of underdog, and about continuing to surprise people. This is a conversation about singing, certainly, but also about resilience, humility, excellence, and how to remain generous and grounded across four decades in music.

Key Takeaways
Wendy Moten reflects on building a career across pop, country, jazz, Americana, sessions, television, and touring without being confined to one lane.
She shares how 15 years with Julio Iglesias taught her phrasing, breath, dynamics, communication, and the art of listening more deeply.
Wendy talks about singing with Vince Gill and the Time Jumpers, and how she developed her own authentic relationship to country music.
She offers a sharp and memorable perspective on background vocals: great harmony singing requires self-control, consistency, and leaving your ego at home.
The conversation explores how the church shaped her confidence, artistry, and ability to recover from mistakes in front of an audience.
Wendy also reflects on The Voice, why she chose to do it, and how it introduced her to a new audience without diminishing everything that came before it.
We discuss the Grand Ole Opry, the emotional weight of her debut, and the significance of taking up space in a tradition that has not always been inclusive.
Music from the Episode
Ode to Billy Joe - Wendy Moten
Don't Touch Me - Wendy Moten
Driving Nails in My Coffin - Wendy Moten
Faithless Love - Wendy Moten (with Vince Gill)
About the Podcast
The Bandwich Tapes is a podcast where I sit down with musicians, singers, songwriters, producers, and creative people for thoughtful conversations about craft, career, collaboration, and the life experiences that shape the music. It is a show about artistry, process, and the human side of a life in music.

Connect with the Show
contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with legendary percussionist Luis Conte for a conversation that goes far beyond music, into life, freedom, faith, and the deep roots of rhythm.  Luis has played with just about everyone, from James Taylor to Pat Metheny, and has been a defining voice in modern percussion for decades. But what struck me most in this conversation is not just what he’s played, it’s how he thinks about music and where it comes from.

We begin with where he is today, working out of his home studio and navigating the modern recording world. Luis strikes a balance between convenience and connection, the trade-off between recording alone and the magic that happens when musicians are in the same room together.  From there, we get into one of my favorite parts of the conversation: the relationship between drummer and percussionist. Luis has such a simple and powerful philosophy: don’t overthink it. Listen. Let the music tell you what to play. It’s a reminder that great musicianship is often about awareness, not complexity.

Luis then shares his incredible personal story, growing up in Cuba, being immersed in music from an early age, and eventually leaving the country as a teenager. What follows is a story of sacrifice, resilience, and ultimately freedom. His reflections on that experience are deeply moving and provide valuable context for the way he approaches music and life.

We also talk about his journey into the Los Angeles music scene, the importance of relationships, and what it really takes to build a career: not just playing well, but being someone people want to be around. Along the way, he shares stories about working with some of the greats, including the late Carlos Vega, whose impact on musicians runs deep.  Toward the end, we get into his work with Pat Metheny and the idea of trusting great musicians to bring their own voice to the music. It’s a theme that runs throughout the entire conversation. Music isn’t something you force; it’s something you respond to.

This is a conversation about feel, about listening, and about the life experiences that shape the way we play.

Key Takeaways
Luis Conte explains why listening, not thinking, is the foundation of great percussion playing.
He shares the nuanced role of a percussionist alongside a drummer and how to complement the music.
Luis reflects on his journey leaving Cuba and the profound meaning of freedom in his life and career.
We discuss how early musical exposure shaped his instincts long before formal training.
Luis emphasizes that relationships, attitude, and reliability are just as important as musicianship.
He shares stories about Carlos Vega and what made him such a special musician.
Luis talks about working with Pat Metheny and the importance of trusting artists to bring their own voice.
Music from the Episode
Santiaguero - Ropa Vieja ft. Luis Conte & San Miguel
La Aguita - Ropa Vieja ft. Luis Conte & San Miguel
America Undefined - Pat Metheny
About the Podcast

The Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper musical ideas that shape their work. It’s a show about process, perspective, and the stories behind a life in music.

Connect with the Show

Email: contact@thebandwichtapes.com