The Bandwich Tapes

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Stephanie Rabus for a conversation about resilience, perseverance, and what it really looks like to build a music career one performance at a time.

Stephanie shares how she balances life between Nashville’s Broadway scene and weekends performing with her longtime cover band, Borderline, in the St. Louis area. We talk about the unique challenges of performing for different audiences, reading a room, developing as a live vocalist, and how every show becomes another opportunity to grow.

Our conversation also explores Stephanie’s remarkable personal story. From open-heart surgery as a child to another heart procedure earlier this year, music has been a constant source of purpose and healing throughout her life. We discuss how those experiences shaped songs like “I Told Me So,” and why honest storytelling has become the foundation of everything she writes.

Along the way, we dive into Nashville, songwriting, harmony singing, touring as a backup vocalist for Georgette Jones, learning from country music’s rich traditions, and why Stephanie continues to pursue her career entirely on her own terms. It’s an inspiring conversation about resilience, artistry, and believing that your best work may still be ahead of you.
Key Takeaways
Stephanie balances a demanding schedule between performing regularly on Nashville’s Broadway and traveling to St. Louis for weekend shows with Borderline.
Music became both an emotional refuge and a source of confidence after childhood health challenges, including open-heart surgery.
Her recent single “I Told Me So” reflects the importance of perseverance and trusting yourself through life’s setbacks.
Stephanie discusses lessons learned from an early record deal and why independent artists now have more opportunities than ever.
Touring as a harmony singer for Georgette Jones deepened her appreciation for vocal phrasing and supporting another artist’s musical identity.
Live performance continues to shape her artistry as she adapts every show to the audience in front of her.
New music is already on the horizon, including several upcoming singles and a possible Christmas project.
Music from the Episode
Payback's a Beach - Stephanie Rabus
About the Podcast

The Bandwich Tapes is a long-form interview podcast hosted by Brad Williams featuring thoughtful conversations with musicians, songwriters, producers, and artists about creativity, craft, collaboration, and the stories behind the music. Each episode goes beyond biography to explore how music is made and the experiences that shape the people who create it.
Connect with the Show
Email: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with singer, songwriter, harmonica player, and bandleader Christopher Wyze for a conversation about creativity, discipline, mentorship, and discovering an entirely new musical life later in adulthood.

Christopher spent decades working as a professional writer and advertising executive before writing his first song in 2022. We talk about how those years of meeting deadlines, telling stories, and finding the clearest possible language prepared him for songwriting. He shares how producer and mentor Ralph Carter encouraged him to take his writing seriously, ultimately leading to the album Stuck in the Mud, recorded in Muscle Shoals with an exceptional group of musicians.

We also explore the joy and vulnerability of entering the studio with world-class players, including members of the Hi Rhythm Section, and hearing a simple lyric or demo become a fully realized piece of music. Christopher talks about collaboration, learning to trust the room, and the responsibility he feels to keep writing and recording while the songs are arriving.

A major part of our conversation centers on Naptown Blues, Christopher Wyze and the Tellers’ tribute to Indianapolis blues musicians Leroy Carr and Scrapper Blackwell. We discuss their influence on artists such as Robert Johnson, the overlooked history of blues recording in Indiana, and why Christopher feels called to help preserve and share that legacy.

Ultimately, this is a conversation about believing someone when they see something in you, finding purpose after a difficult professional chapter, and reaching a point in life where fear no longer gets to make the decisions.
Key Takeaways
Christopher wrote his first song in 2022 after decades of professional writing in newspapers, magazines, books, and advertising.
Producer and former Eddie Money collaborator Ralph Carter became a mentor who encouraged Christopher to write original music and helped shape his songs in the studio.
His debut album, Stuck in the Mud, was recorded in Muscle Shoals with musicians including guitarist Eric Deaton.
Christopher approaches songwriting much like advertising: identify the central idea, use as few words as possible, and allow music and imagery to carry part of the story.
Playing with musicians such as the Hi Rhythm Section has taught him to trust the moment and elevate his own performance.
Naptown Blues honors Indianapolis blues pioneers Leroy Carr and Scrapper Blackwell, whose music helped influence Robert Johnson and “Sweet Home Chicago.”
Christopher believes his most important work now is writing and recording songs, even when that means performing less often.
His return to music has given him a sense of joy, purpose, and fearlessness that he did not have earlier in life.
Music from the Episode
I'm Going Back to Tennessee - Christopher Wyze
About the Podcast

The Bandwich Tapes is a long-form interview podcast hosted by Brad Williams featuring thoughtful conversations with musicians, songwriters, producers, and artists about creativity, craft, collaboration, and the experiences that shape their work. Each episode moves beyond biography to explore how music is written, performed, recorded, and lived.
Connect with the Show

Email: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with multi-instrumentalist, singer, songwriter, and producer Eliot Lewis for a conversation about rhythm, versatility, technology, and the experiences that shaped his remarkable career.

Eliot began as a drummer and still considers rhythm the foundation of everything he does. We talk about how that early connection to the drums influenced his work as a guitarist, bassist, keyboardist, singer, and songwriter, as well as the unspoken communication that develops when musicians spend years learning how to play together.

We also explore Eliot’s years with Average White Band, where he grew as a performer and lead vocalist while sharing stages with artists including Earth, Wind & Fire, B.B. King, Buddy Guy, War, and the Ohio Players. Eliot discusses his work with producer and songwriter Dan Hartman, playing on Tina Turner’s “The Best,” and learning the value of becoming a musical chameleon who can understand and support many different artists.

A large part of our conversation focuses on Eliot’s time with Hall & Oates and Live from Daryl’s House. He explains how the musicians learned and recorded new material with very little rehearsal, why Daryl Hall wanted the performances to remain spontaneous, and what Eliot learned from working with guests such as Robert Fripp, CeeLo Green, Booker T. Jones, Grace Potter, and KT Tunstall.

Eliot also takes us inside his current solo live-looping show. He describes the technical and musical challenge of creating the sound and dynamics of a full band by himself, the importance of remaining in the moment, and why technology should always serve the song rather than replace the musicianship underneath it.

Key Takeaways
Eliot still considers himself a drummer first, and rhythm remains the foundation of his work on every instrument.
His live-looping show is designed to create the feeling and dynamics of a three- or four-piece band rather than simply repeat accompaniment.
Learning several instruments helped Eliot understand how each musical role fits into an arrangement without competing for space.
His years with Average White Band developed his confidence as a singer, songwriter, performer, and collaborative band member.
Working on Live from Daryl’s House required strong ears, quick preparation, trust between musicians, and an ability to respond in the moment.
Eliot believes technology is most effective when it supports the song, but a performer must still be able to play and communicate when the technology fails.
Running a solo career means balancing music with booking, travel, marketing, arranging, production, and the many other responsibilities that happen away from the stage.
Music from the Episode
Retroactive - Eliot Lewis
Jetstream - Eliot Lewis
Sonic Soldier - Eliot Lewis
Helpless - Eliot Lewis
About the Podcast

The Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.
Connect with the Show

Questions, comments, or guest suggestions:
contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Barns Courtney for a wide-ranging conversation about performance, songwriting, musicianship, ambition, and the strange balance between control and chaos.

Barns talks about the solo acoustic shows he has been playing and how stripping away the band has changed his relationship with an audience.  Without a fixed stage plan, every night becomes more unpredictable, more conversational, and more dependent on what is happening in the room. We discuss why great performances need an element of risk and how those shows have reminded him not to let ambition overshadow gratitude.

We also talk about his ongoing work as a singer and the discipline required to maintain an instrument that is constantly changing. Barns reflects on vocal lessons, life on the road, the financial realities of touring, and the challenge of building a sustainable career without losing the joy that made him want to perform in the first place.  Barns also takes us inside the making of his new album with producer and multi-instrumentalist Jonathan Wilson. He describes being challenged to improve as a musician, learning when to loosen his grip on an arrangement, and discovering how a fresh perspective can reveal what a song actually needs.

Our conversation moves through meditation, neurodivergence, social media, aging, creative discipline, and the story behind “Glitter & Gold,” which was recorded with one microphone, an out-of-tune piano, filing cabinets, and whatever sounds were available in the room. Throughout it all, Barns returns to one idea: the real purpose of performing is not to prove how impressive you are, but to connect with people and bring them some measure of joy.
Key Takeaways
Barns continues to take vocal lessons and views singing as an instrument that must be constantly relearned as the body changes.
His acoustic shows have created more space for improvisation, audience interaction, humor, and genuine unpredictability.
He believes a performance can become too controlled, and that risk is often necessary for a show to feel transcendent.
Working with Jonathan Wilson challenged Barns to become more proficient as an instrumentalist and more open to outside ideas.
Barns now approaches songwriting with greater discipline, comparing the process to fishing: showing up regularly without knowing what will surface.
The live album captured the sound of a band that had developed trust, instinct, and a shared musical language through touring together.
Barns has come to see performance less as a display of ambition and more as an opportunity to connect with people and bring them joy.
Music from the Episode
Fun Never Ends - Barns Courtney
99 - Barns Courtney
Glitter & Gold - Barns Courtney
About the Podcast

The Bandwich Tapes is a music interview podcast hosted by Brad Williams. Each episode features thoughtful conversations with musicians, songwriters, producers, and other creative artists about their careers, influences, collaborations, musical craft, and the experiences that shape their work.

Connect with the Show

Questions, comments, or guest suggestions:
contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Terri Lyne Carrington to discuss her remarkable career, her artistic evolution, and her ambitious new album, Trip the Night Fantastic. Widely recognized as one of the most influential drummers, composers, producers, and educators working today, Terri shares how groove, storytelling, and social consciousness have become inseparable parts of her creative voice.

We talk about the concept behind Trip the Night Fantastic, which Terri describes as a groove-centered project created for difficult times. Our conversation explores the relationship between dance, rhythm, and emotional connection, and how groove can often reach listeners before lyrics ever do. Terri reflects on jazz’s historical relationship with dance music and why reconnecting with that tradition felt important for this project.

We also dive into her journey as an artist and how life experience eventually led her to fully integrate her identity, values, and artistic work. Drawing on lessons learned from mentors such as Wayne Shorter and Herbie Hancock, Terri discusses leadership, collaboration, production, and the challenge of balancing a strong artistic vision with creating space for others to contribute.
The conversation also explores the work of the Berklee Institute of Jazz and Gender Justice, the role of representation in music education, and the importance of creating environments where new voices can shape the future of the art form. Along the way, Terri reflects on her upbringing in Boston, her experiences working alongside some of the greatest musicians in jazz history, and what gives her hope when she looks at the next generation of artists.

This is a thoughtful conversation about creativity, purpose, community, and the ongoing evolution of jazz from one of its most important modern voices.

Key Takeaways
Trip the Night Fantastic was conceived as a groove-oriented album designed to reconnect jazz with its dance traditions.
Terri believes groove often creates an emotional connection before listeners fully engage with lyrical content.
Her artistic identity became stronger when she stopped separating her life experiences from her creative work.
Lessons from mentors like Wayne Shorter and Herbie Hancock continue to influence her approach to music and leadership.
Producing music requires balancing a clear artistic vision with openness to collaborators’ ideas.
The Berklee Institute of Jazz and Gender Justice was created to expand opportunities and perspectives within jazz education.
Terri remains optimistic about the future of jazz because of the creativity, knowledge, and commitment she sees in younger musicians.
Music from the Episode
Riddim Song - Terri Lyne Carrington
Identity Song - Terri Lyne Carrington
Autonomy Song - Terri Lyne Carrington
Solidarity Song - Terri Lyne Carrington
About the Podcast
The Bandwich Tapes is a podcast hosted by Brad Williams that features in-depth conversations with musicians, composers, producers, educators, and other creative artists. Each episode explores the craft of making music, artistic growth, collaboration, creative philosophy, and the stories behind the people shaping today’s musical landscape.

Connect with the Show
Email: contact@thebandwichtapes.com