The Bandwich Tapes

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Aubory Bugg for a conversation about songwriting, collaboration, musical identity, and the experiences that shaped her forthcoming album, I Think I Had Something Once.

Aubory grew up in Granite City, Illinois, just outside of St. Louis, and we talk about how that small-town perspective continues to find its way into her writing. She explains how songs like “Steel Mill Town” helped her move beyond writing exclusively about her own emotions and toward observing the people, places, and details around her. We also talk about her move to Nashville and the community she has found among a close group of independent folk singer-songwriters.

We spend a good part of the conversation digging into craft. Aubory traces her path from singing as a child to trumpet, piano, and eventually guitar, including her time studying songwriting at Webster University and performing in jazz ensembles around St. Louis. She shares how studying with vocalist Debbie Lennon helped her move away from oversinging and begin thinking more carefully about why a vocal embellishment belongs in a song at all.

Aubory also takes me inside the making of I Think I Had Something Once, including her work with producers and collaborators Matt and John. We talk about the value of creative tension, surrendering part of your original vision to trusted collaborators, recording vocals with only a handful of complete takes, and why bringing other musicians into the process has changed the way she thinks about making records.

We also get into the wonderfully old-school story of Aubory walking into Dualtone with her guitar and playing two songs live—a decision that helped lead to her signing with the label. And we close by talking about her first headlining show in London, the connection that happens when people in another country know every word to your songs, and what she hopes to build as this new record makes its way into the world.
Key Takeaways
Growing up in Granite City, Illinois, gave Aubory an appreciation for small details, close communities, and the kind of observational writing that now plays an important role in her songs.
Writing “Steel Mill Town” helped her realize that some of her strongest songwriting happens when she turns her attention outward and writes about the world around her.
Aubory’s musical background includes singing, trumpet, piano, guitar, jazz ensembles, songwriting studies, live performance, and learning music production.
Her time studying voice at Webster University taught her to think critically about vocal embellishment and to ask whether every riff, belt, or melodic choice is actually serving the lyric.
Working with collaborators Matt and John has taught Aubory to embrace healthy creative tension and allow other musicians to challenge her original ideas.
Her current vocal recording process often involves three or four complete takes followed by a comp, allowing her to preserve performances rather than constructing every phrase individually.
Aubory’s belief that her music is best understood live helped inspire her to take a guitar into Dualtone and perform two songs in person—an approach she says played an important part in her signing with the label.
Music from the Episode
i think i had something once - Aubory Bugg
nosedive - Aubory Bugg
the one you want to lose - Aubory Bugg
About the Podcast

The Bandwich Tapes is a music interview podcast hosted by Brad Williams featuring thoughtful conversations with musicians, songwriters, producers, and other creative people. Each episode goes beyond the résumé to explore how music gets made—the choices, relationships, influences, challenges, and experiences that shape a creative life.
Connect with the Show

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

On this episode of The Bandwich Tapes, I sit down with multi-instrumentalist, composer, arranger, producer, and engineer Giulio Carmassi for a conversation about instinct, perseverance, and the unexpected turns that shape a life in music.

Giulio takes me back to his childhood in Pisa, Italy, where he began on drums before discovering jazz harmony at the piano. By his teens, he was improvising on multiple instruments and learning alongside musicians several times his age. He shares how moving to the United States at 22 opened doors that had seemed firmly closed and how his ability to play nearly anything eventually became his greatest strength.

We dig into Giulio's work with Will Lee, Steve Gadd, Chuck Loeb, and Emmy Rossum, as well as the remarkable path that led him into the Pat Metheny Unity Group. Giulio tells the story behind his "First Circle" video, the grueling month he spent learning its guitar part, and the surreal experience of recording KIN (←→) with Pat Metheny, Antonio Sánchez, Chris Potter, and Ben Williams.

Giulio also speaks candidly about the pressure of performing at that level, the discipline of leaving space, and what it means to listen with complete attention. We close by exploring his transition into composing and commercial music, his collaboration with Brian Scary, and why the human movement of a great rhythm section can never be reduced to a grid.

Key Takeaways
Becoming a father gave Giulio a sharper understanding of time, priorities, and the importance of saying no to work that does not matter.
His multi-instrumental approach was once treated as a professional liability, but it ultimately created opportunities that specialization could not have provided.
Giulio's move from Pisa to the United States showed him the power of an environment that rewards curiosity, hard work, and initiative.
His opportunity with Pat Metheny grew out of years of preparation, a personal recommendation, and an extraordinary month spent learning "First Circle," one measure at a time.
Playing with musicians such as Steve Gadd and Will Lee taught Giulio that trust, generosity, and personal connection are inseparable from great musical performances.
His time in the Pat Metheny Unity Group honed his ability to concentrate, adapt, and perform under pressure.
Giulio believes the feel of master musicians comes from confident, human interaction, not from mechanically conforming every note to a grid.
Music from the Episode
Chasing Mornings - Giulio Carmassi
Traccia Sconosciuta - Giulio Carmassi
Ten Thousand Birds - Giulio Carmassi
Path Through the Jungle - Giulio Carmassi
Can't Stop It - Giulio Carmassi
About the Podcast

The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. Host Brad Williams sits down with musicians, songwriters, producers, and other artists for thoughtful conversations about craft, collaboration, careers, and the moments that happen both on and off the bandstand.

Connect with the Show

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

On this episode of The Bandwich Tapes, I sit down with drummer Pat Steward for a wide-ranging conversation about groove, feel, listening, and the experiences that shape a musician over a lifetime. Pat has spent decades behind the kit, including a long history with Bryan Adams, and I had the chance to see him perform in St. Louis shortly before we recorded this conversation. Watching him play reinforced something I have always admired about his drumming: there are no wasted notes. Everything serves the song, the singer, and the musicians around him.

We talk about the current Bryan Adams tour and what allows a highly produced arena show to feel still spontaneous and alive. Pat explains his evolving relationship with playing to a click, the importance of supporting a singer, and why feel can be difficult to reduce to a technical formula. We also get into the band's current four-piece configuration, with Bryan handling much of the bass playing himself, and how that change has created a different rhythm-section dynamic.

Pat takes me back to his beginnings as a young drummer, from hearing The Beatles and Creedence Clearwater Revival to learning songs by playing along with the radio and records. We talk about Bad Company, Linda Ronstadt, KISS, Rush, AC/DC, jazz education, school bands, and the value of learning to function in as many different musical situations as possible. That curiosity has never left him. Our conversation moves naturally through Tony Williams, Steve Gadd, Jim Keltner, Elvin Jones, Vinnie Colaiuta, David Garibaldi, Bill Stewart, and the drummers and records that continue to inspire him.

We also spend a lot of time talking about recording: drum tuning, microphones, engineers, producers, and the difference between capturing music and overworking it. Pat shares stories about recording with Bob Rock, discusses the influence and meticulous approach of Mutt Lange, and makes a compelling case for trusting musicians, listening to the drum kit as a complete instrument, and recognizing when the best performance may already have happened in the first couple of takes.

Ultimately, this is a conversation about experience. Pat and I talk about knowing when to use the pencil and when to use the eraser, how songs change after decades of performing them, and why great musicianship often comes down to listening carefully enough to understand what the music actually needs.
Key Takeaways
Pat approaches drumming by putting groove, feel, and the singer first, with every part designed to support the song rather than draw unnecessary attention to the drums.
Playing with a click became less about restricting feel and more about creating a dependable framework in which Pat can still push, pull, and shape the music.
The current Bryan Adams band has developed a different rhythmic identity with Bryan playing bass on portions of the show and keyboardist Gary Breit covering other bass parts.
Pat's musical vocabulary grew from playing along with radio and records, studying everything from Bad Company, AC/DC, KISS, and Rush to bebop, jazz ensembles, and big-band music.
His early experiences in rock bands, concert bands, stage bands, and jazz education taught him to adapt his playing to the music around him rather than force a single approach on every situation.
Pat sees live performance and studio recording as related but distinct disciplines: live music benefits from energy and spontaneity, while recording often demands patience, restraint, and attention to the larger sonic picture.
Decades of experience have reinforced the importance of trusting musicians, preserving the energy of early takes, and knowing when additional notes—or additional production—actually help the music.
Music from the Episode
Cuts Like a Knife - Bryan Adams
Truth Untold - Odds
I Thought I'd Seen Everything - Bryan Adams
Into the Mystic - Colin James
About the Podcast

The Bandwich Tapes is a music interview podcast hosted by Brad Williams, featuring thoughtful conversations with musicians, songwriters, producers, engineers, and other creative people. Each episode explores the experiences, decisions, collaborations, and musical ideas behind a life spent making music.
Connect with the Show

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

On this episode of The Bandwich Tapes, I sit down with SAVNT, lead singer of Ghost Hounds, for a conversation about the band’s new album Justified, vocal interpretation, storytelling, musical identity, and the unexpected path that brought him into the group.

We spend a lot of time talking about SAVNT’s approach as a singer. Sam Cooke was one of his earliest and most important influences, but his musical upbringing was much broader than any one genre. Soul, rock, country, and pop all existed together in his home, and that openness still shapes the way he hears music today. As SAVNT puts it during our conversation, “soul is not a genre, it’s a feeling.” That idea becomes a through line for much of the episode.

We also get deep into the songwriting and recording process behind Ghost Hounds. SAVNT talks about working with Thomas Tull, who often approaches songs almost like a screenwriter, building characters, circumstances, and emotional backstories before SAVNT ever steps to the microphone. From there, the challenge becomes finding that character’s truth and connecting it to something real in his own life. We talk about why he prefers singing complete takes in the studio and why he sometimes keeps recording even after everyone else thinks they already have the vocal.

The story of how SAVNT joined Ghost Hounds is remarkable. After deciding to leave New York and move to Denver, one final performance in Brooklyn put him in front of the band’s former lead singer, who recommended him for the job. Only months later, SAVNT was touring with The Rolling Stones, meeting artists including Lainey Wilson and Patty Griffin, and eventually performing at the Grand Ole Opry. He and drummer Sydney Driver even joined the band on the same day, giving both of them someone else to navigate that transition alongside.

We also break down several songs on Justified, including “Sinner’s Prayer,” “Pale Horse,” “Something Wicked,” “After You,” and the band’s versions of “Gimme Shelter,” “Going Down,” and “Amazing Grace.” SAVNT explains why those older songs naturally became part of the album and why closing the record with “Amazing Grace” gives the entire project an emotional and spiritual destination. It’s a conversation about roots music, perseverance, collaboration, and what happens when a singer stops thinking about genre and starts thinking about truth.
Key Takeaways
SAVNT’s vocal identity comes from an unusually broad musical foundation. Sam Cooke was a formative influence, but country, rock, soul, pop, and other styles were all part of his listening life from an early age.
For SAVNT, soul is bigger than a genre. If a folk, bluegrass, country, rock, or jazz performance communicates something real enough to make him feel it, he considers that soul.
Ghost Hounds approach songs as stories first. Thomas Tull often gives SAVNT detailed character and emotional context, allowing him to approach the vocal almost like an actor trying to find the truth of a role.
SAVNT prefers recording complete vocal performances whenever possible. Singing the full song allows him to build naturally toward its emotional peaks instead of assembling the performance one isolated section at a time.
Joining Ghost Hounds was the result of an unlikely chain of events. A final Brooklyn performance before SAVNT planned to move to Denver led to a recommendation, an audition, and ultimately a meeting with the band on January 1, 2024.
SAVNT and drummer Sydney Driver joined Ghost Hounds on the same day. Their musical connection quickly became important, with SAVNT describing Sydney as an anchor whose playing helps guide his entrances and phrasing onstage.
Justified developed organically rather than according to a rigid plan. Covers including “Gimme Shelter,” “Going Down,” and “Amazing Grace” were originally recorded without certainty that they would become part of an album, but eventually the music itself seemed to determine where they belonged.
Songs from the Episode
Something Wicked - Ghost Hounds
Sinner's Prayer - Ghost Hounds
Gimme Shelter - Ghost Hounds
Amazing Grace - Ghost Hounds
Going Down - Ghost Hounds
About the Podcast

The Bandwich Tapes is a podcast about the people who make music and the experiences that shape them. I sit down with musicians, songwriters, producers, engineers, and other creative people for thoughtful conversations about craft, collaboration, careers, influences, and the realities of making music. The goal is simple: get beyond the résumé and talk about how music actually gets made.
Connect with the Show

Questions, comments, guest suggestions, or just want to say hello?
contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Italian guitarist, composer, producer, and sound engineer Emanuele Naima. Our conversation begins with Steve Reich's music and expands into a thoughtful exploration of sound, collaboration, and the freedom to pursue more than one creative path.

Emanuele tells me how his interest in minimalist music and academic research led him to reimagine all three movements of Reich’s Electric Counterpoint. By combining classical and electric guitars with synthesizers, handclaps, and snare drum, he honored the composition while creating a distinct atmosphere for each movement: memory, stillness, and conflict.

We also trace Emanuele’s musical life from beginning classical guitar at eight to completing 12 years of conservatory study. He shares the wonderfully varied music that filled his childhood home, including Pink Floyd, Aretha Franklin, Elton John, jazz, psychedelic music, and Michael Jackson. That open listening continues to shape a career that moves naturally among classical guitar, R&B, funk, ambient music, sound design, production, and live performance.

Emanuele also reflects on his work with Puka Shells Bling, the influence of playing funk and dub with other musicians, and the way collaboration changes everything from touch and tone to harmony and time. We close by discussing his ambient compositions, work with dance and choreography, improvised techno, and his willingness to keep experimenting without forcing every musical interest into a single identity.

Key Takeaways
Emanuele’s reinterpretation of Electric Counterpoint began as part of a potential PhD proposal and later developed into a complete recording project.
He combined classical guitar, electric guitar, synthesizers, handclaps, and snare drum while preserving the dynamics and structure of Steve Reich’s composition.
Each movement became a different image for Emanuele: a memory, a peaceful refuge, and a scene of conflict.
Twelve years of conservatory study gave him a classical foundation, while funk, dub, R&B, ambient music, and production expanded his sense of rhythm and sound.
His childhood listening moved freely among Pink Floyd, Aretha Franklin, Elton John, jazz, psychedelic music, Metallica, Madonna, Lady Gaga, and Michael Jackson.
Playing with other musicians taught Emanuele how touch, energy, harmony, tone, and placement within the beat become part of a musician’s identity.
Rather than committing to a single narrow path, Emanuele is embracing experimentation across ambient music, dance, live performance, synthesizers, and improvised techno.
Music from the Episode
Electric Counterpoint - I. Fast - Emanuele Naima
Electric Counterpoint - III. Fast - Emanuele Naima
Equilibri - Emanuele Naima
About the Podcast

The Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. I sit down with musicians, songwriters, producers, and other artists for thoughtful conversations about craft, collaboration, careers, and the moments that happen both on and off the bandstand.
Connect with the Show

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