The Bandwich Tapes

On this episode of The Bandwich Tapes, I sit down with Mark Kibble of Take 6, a group whose music has been part of my life since the very beginning of my musical journey.   We start with a full-circle moment, me seeing Take 6 live as a teenager, and now getting to sit down and talk with Mark about his career, his process, and the music that continues to inspire him.

We begin with his work on Pat Metheny's latest project, in which Mark contributed vocal arrangements that add an entirely new dimension to Pat's sound. Mark walks through the process, receiving tracks, interpreting harmonic language, and building a choir sound that fits seamlessly into a complex musical landscape.   From there, we zoom out and talk about what it means to be a collaborator, how Mark approaches working with other artists, what he listens for, and how he balances his own voice with the music's needs. His perspective is simple but profound: it's not about him. It's about making the music better.

We spend time reflecting on the longevity of Take 6, how a group can stay together for decades, navigate challenges, and still maintain both musical excellence and deep personal relationships. Mark shares that their foundation goes far beyond music; it's rooted in purpose, faith, and a genuine commitment to each other as family.  We also talk about influence, how artists like Jacob Collier are carrying the torch forward, and how meaningful it is to see a new generation connect with the music that Take 6 has been making for decades.

There are some great moments of reflection, too, working with legends like Joe Sample, collaborating with Lalah Hathaway, and the challenge (and joy) of continuing to grow as a vocalist over time.  We also get into vocal health, longevity, and what it takes to sustain a career at the highest level—physically, mentally, and creatively.

This is a conversation about harmony in every sense of the word: musical, personal, and spiritual.

Key Takeaways
Mark Kibble breaks down how he approached arranging vocals for Pat Metheny's latest project.
He shares why collaboration is about serving the artist—not showcasing yourself.
The longevity of Take 6 is rooted in purpose, faith, and treating each other like family.
Mark reflects on the group's influence on artists like Jacob Collier.
Great arranging is about fitting into the music—not competing with it.
Vocal longevity requires discipline, rest, and learning how to pace yourself.
Coaching others reinforced the importance of finding your own authentic voice.
Music from the Episode
Biggest Part of Me - Take 6
Don't Look Down - Pat Metheny
U-Turn - Joe Sample with Take 6
Someday We'll All Be Free - Take 6 with Lalah Hathaway
Come Unto Me - Take 6
About the Podcast

The Bandwich Tapes is my chance to sit down with musicians, composers, and creative artists for honest conversations about the craft, the process, and the stories behind the music. It's about digging deeper—into how great music gets made and the people who make it.

Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down in person with drummer Joe Dyson, the first in-person conversation I’ve recorded for the show, and it couldn’t have been with a better musician or person.  Joe is currently on the road with Pat Metheny, and we talk about the experience of being inside that music night after night, how the band continues to grow, how chemistry develops on the road, and what it truly means to live inside the music.

We begin at the very beginning, Joe’s earliest connection to the drums, growing up in church, watching his family play, and learning through imitation long before formal instruction. That foundation, playing with purpose, listening deeply, and serving something larger than yourself, continues to shape everything he does today.  From there, we dive into the cultural impact of growing up in New Orleans and the moment Joe realized just how unique that musical environment is. His reflections on culture, identity, and the preservation of tradition are powerful and deeply personal.

One of the most meaningful parts of this conversation centers around mentorship, specifically his relationships with Alvin Batiste and Donald Harrison. Joe shares incredible stories about how these mentors shaped him, not just musically, but philosophically, and how their lessons continue to reveal themselves years later.  We also spend time talking about listening, not just as a musical skill, but as a life skill. Joe makes a compelling case that listening is at the center of everything: collaboration, groove, communication, and even being a better human being.

We get into his artistic philosophy, how he balances honoring the lineage of great drummers like Elvin Jones, Roy Haynes, and Philly Joe Jones while still pushing forward creatively. His perspective on imitation, emulation, and innovation is something every musician can learn from.

Joe also shares the incredible (and almost missed!) story of how he connected with Pat Metheny, starting with an email he nearly ignored, and what it’s like working with an artist of that level in both live and studio settings.

We wrap up by talking about his debut album, Look Within, and how stepping into the role of a bandleader changed his perspective, not just musically, but also in how he approaches collaboration and supports other artists.

This is a conversation about growth, humility, and the lifelong process of becoming a musician.
Key Takeaways
Joe Dyson explains why listening is the most important skill a musician can develop—on and off the stage.
He shares how growing up in church shaped his sense of purpose and connection to music.
Joe reflects on the unique cultural identity of New Orleans and its lasting influence on his playing.
He discusses the profound impact of mentorship from Alvin Batiste and Donald Harrison.
Joe breaks down the process of musical growth: imitation → emulation → innovation.
He tells the story of nearly ignoring the email that led to working with Pat Metheny.
Leading his own band gave him a deeper respect for collaboration and the responsibilities of being a bandleader.
Music from the Episode
Pious Walk - Joe Dyson
Forward - Joe Dyson
Fleeting Faith - Joe Dyson
In On It - Pat Metheny Side Eye III
Naysayers - Joe Dyson
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, and the deeper musical ideas that shape their work. It’s a space to explore process, perspective, and the human side of a life in music.

Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with percussionist and educator Shawn Galvin for a wide-ranging conversation about orchestral life, teaching, and the deeper thinking behind great musicianship. I first learned about Shawn through my son Skyler, who studied with him at LSU, so this conversation felt especially meaningful for me.

We begin by talking about Shawn’s approach to teaching and how he balances technique with musicality. His philosophy is simple but powerful: musical intent should always lead the way. Instead of practicing technique in isolation, Shawn encourages students to pursue musical ideas first—and then let the technical work follow to serve those ideas.

From there, we dig into orchestral percussion itself, how the role of percussionists continues to evolve, and how skills like drum set playing have increasingly become part of the orchestral vocabulary. Shawn shares fascinating insights into audition repertoire, why certain excerpts appear on audition lists, and how percussionists today must be prepared for a wider range of musical demands than ever before.

We also spend time on Shawn’s own musical lineage. Growing up in western Pennsylvania with a father who was both his band director and percussion teacher gave him an early immersion in music education. Later, studying with legendary Pittsburgh Symphony timpanist Stanley Leonard became a foundational experience that shaped the way he thinks about sound, tone production, and the role of percussion in the orchestra.

One of my favorite parts of this conversation is hearing Shawn talk about timpani as a gateway into orchestral thinking. Because timpani sits inside the harmonic and structural core of so much orchestral repertoire, studying it opens a deeper understanding of how orchestras actually function musically. That perspective carries into everything from bass drum sound production to phrasing inside the orchestra.

We also explore the many dimensions of Shawn’s career—from his years performing with the Pittsburgh Symphony Orchestra to his work with the North Carolina Symphony, his teaching at LSU, and his leadership role with the Spoleto Festival Orchestra, where he helps audition and mentor the next generation of orchestral musicians.

This is a thoughtful conversation about musicianship, mentorship, and the long arc of a life spent in music.

Key Takeaways
Musicality should lead technique — technical work becomes more meaningful when it serves a clear musical idea.
Orchestral percussion continues to evolve — drum set and broader stylistic fluency are now part of many orchestral expectations.
Studying timpani deepens understanding of the orchestra — it connects percussionists directly to the harmonic and structural core of the repertoire.
Great teachers shape more than musicians — the process of learning music develops discipline, listening, and collaboration skills that transfer far beyond music.
Mentorship matters — Shawn’s studies with Stanley Leonard helped shape his musical thinking and approach to teaching.
Professional musicianship requires adaptability — orchestral players must be ready for a wide range of tempos, conductors, and interpretations.
Music careers can take many forms — performing, teaching, and arts leadership can all intersect in meaningful ways.
Music from the Episode
Queen - Molly Joyce (Shawn Galvin, percussion)
Five Gestures - Brett William Dietz (Shawn Galvin, snare drum & LSU Hamiruge Percussion Ensemble - Dr. Brett Dietz, conductor)
Letter from Home - Pat Metheny Group (Shawn Galvin, vibraphone)
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: [email protected]

On this episode of The Bandwich Tapes, I sit down with Michael Bacon for a conversation that moves naturally through songwriting, teaching, film scoring, orchestration, and the long arc of a creative life.

Michael reflects on the musical education that shaped him, both formal and informal. He talks about returning to Lehman as an adult to fill in gaps in theory, harmony, counterpoint, and music history, and about the profound influence of composer John Corigliano. We also dig into Michael’s early life in Philadelphia, where public school music programs, orchestral experiences, folk music, and an extraordinary listening environment at home all helped form his wide musical palette.

One of my favorite parts of this conversation is hearing Michael talk about range: why he is drawn to music that can be beautiful, unsettling, lyrical, loud, delicate, and emotionally direct all at once. That idea connects everything he does, from songwriting with The Bacon Brothers to his work as a film composer and orchestrator. He has no interest in staying in one narrow lane, and that comes through clearly in the way he describes both his influences and his process.

We also spend time on collaboration: co-writing in Nashville, writing with his brother Kevin Bacon, adding Mayer to the band, and the trust required to make any long-running musical partnership work. By the end of the conversation, what stands out most is Michael’s clarity about what sustains a creative life: deep listening, family support, musical curiosity, and the willingness to keep showing up for the work.

Key Takeaways
Michael Bacon balances multiple musical identities: songwriter, film composer, educator, orchestrator, and performer.
He studied at Lehman College, and his time with John Corigliano helped strengthen the technical foundation behind his creative instincts.
Growing up in Philadelphia, surrounded by music at home and in public school programs, had a lasting impact on his musical language.
His values range in music—beauty, tension, melody, fear, dynamics, and emotional contrast all matter to him as a composer.
His songwriting process differs depending on the setting, from structured Nashville co-writes to more personal, experience-driven songs.
Collaboration in The Bacon Brothers works because Michael and Kevin bring different strengths, influences, and instincts to the same songs.
Writing for orchestra remains one of Michael’s deepest creative joys, especially when he can bring that world into live performance.
Music from the Episode
Put Your Hand Up - The Bacon Brothers
Airport Bar - The Bacon Brothers
People in the World - The Bacon Brothers
About the Podcast

The Bandwich Tapes is a podcast hosted by me, Brad Williams, featuring thoughtful conversations with musicians, songwriters, composers, and artists about craft, creativity, collaboration, and the stories behind the music.

Connect with the Show

Email: [email protected]

Episode Summary

On this episode of The Bandwich Tapes, I sit down with Liam Duncan, the Winnipeg singer-songwriter, producer, and bandleader better known as Boy Golden. Liam has been carving out a distinct lane in modern roots music through records like Church of Better Daze, For Jimmy, For Eden, and now Best of Our Possible Lives, his 2026 album released by Six Shooter Records. Along the way, he has earned major recognition in Canada, including a Juno nomination for For Eden and a Canadian Folk Music Award, while continuing to grow as both an artist and a producer.  
We begin with the new album itself, which feels relaxed on first listen but reveals a deeper level of craft the more time you spend with it. Liam talks about the balance between intentional songwriting and the freedom of a loose studio environment, and he explains how careful pre-production gave the band room to breathe once the red light was on. That combination of structure and openness runs through the whole conversation.

We spend a good stretch of time on the making of Best of Our Possible Lives, including Liam’s collaboration with co-producer Robbie Lackritz and a remarkable studio cast that includes Pino Palladino, Abe Rounds, Austin Parachoniak, FONTINE, Gabe Noel, and Joseph Shabason. Liam shares what it was like to sing and play inside a rhythm section that strong, how live the sessions really were, and why letting go of technical responsibilities helped him become a better performer in the room. The result is a record that feels warm, human, and deeply played.  

From there, the conversation opens out into larger questions about communication, collaboration, songwriting, and identity. Liam talks about learning to speak differently to different musicians, the value of being both a bandleader and a sideman, and why he does not feel especially tied to recreating his records onstage. We also get into the meaning behind the name Boy Golden, the freedom of writing through an alter ego, and the way fiction, metaphor, and autobiography all live together inside a song.

What I love about this conversation is that Liam is thoughtful without sounding guarded. He is clearly serious about songs, sound, and arrangement, but he also leaves room for instinct, humor, and surprise. This episode is about more than one record. It is about what happens when an artist learns to prepare deeply, trust the people around him, and leave enough space for the music to become what it wants to become.

Key Takeaways
Liam built Best of Our Possible Lives through a mix of deliberate songcraft and a relaxed, collaborative studio process.
Working with players like Pino Palladino and Abe Rounds gave the music a rhythmic center that made everything else feel easier to sing and play over.
Sharing production duties with Robbie Lackritz allowed Liam to step away from technical tasks and focus more fully on performance.  
He adjusts how he communicates musical ideas depending on the player, whether that means theory, feel-based language, or simply playing something through a few more times.
The Boy Golden name gave Liam more artistic freedom than writing under his own name, especially in how he blends truth, fiction, and storytelling.
He values live performance as an art form in its own right and is not especially interested in reproducing studio recordings exactly onstage.
He is already thinking ahead creatively, including new writing methods and experiments with combining multiple song ideas into larger suites.
Music from the Episode
Boy Golden - You Got it
Boy Golden - Suffer
Boy Golden - The Matter at Hand
Boy Golden - Best of Our Possible Lives
Boy Golden - Chickadee
About the Podcast

The Bandwich Tapes is a podcast where I sit down with musicians, songwriters, producers, and creative thinkers for thoughtful conversations about craft, collaboration, career, and the deeper philosophy of making music. It is a space for stories, process, and the lived experience behind the work.

Connect with the Show

Email: [email protected]