The Bandwich Tapes

On this episode of The Bandwich Tapes, I sit down with percussionist Jake Nissly, Principal Percussionist of the San Francisco Symphony, for a conversation about what it actually takes to build and sustain a career at the highest level of orchestral playing. Jake’s résumé is remarkable, but what stands out even more is the range of hats he wears: orchestral musician, soloist, educator, department chair at the San Francisco Conservatory of Music, drum set player, former drum corps kid, and even Little League coach.

We spend time unpacking the reality of orchestral auditions, the intense preparation, the psychological pressure of playing behind a screen, and the almost figure-skating-level precision required to compete in that world. Jake walks through his own path: winning the Detroit Symphony job at 26, then later the Cleveland Orchestra, and ultimately facing the difficult experience of not receiving tenure. Rather than ending his trajectory, that moment reshaped it and eventually led him to the San Francisco Symphony.

One of my favorite parts of this conversation centers on Jake’s concept of feel. He credits much of his orchestral success to his background in drum set and drum corps, where groove, flexibility, and listening are everything. That experience, he says, translates directly into orchestral playing, even in repertoire like Mahler or Ravel’s Bolero, where there’s still a pocket to find if you’re listening closely enough.

We also talk about teaching and the changing landscape for young musicians. Jake shares thoughtful insights about how YouTube and digital access have transformed preparation, often producing incredibly polished players who sometimes struggle to develop ownership, personality, and soul in their playing. It’s an honest conversation about pedagogy, resilience, and the kind of musicianship that lifts everyone in the room.

Key Takeaways
Orchestral auditions demand extraordinary precision — success often comes down to microscopic musical details.
Career paths are rarely linear — setbacks can become turning points rather than endings.
Groove matters in orchestral music — Jake’s drum set and drum corps background inform his orchestral feel.
Listening is the core skill — great musicians adjust in real time to the ensemble around them.
Technical mastery alone isn’t enough — personality and ownership bring music to life.
Teaching requires adapting to new generations — digital resources have reshaped how students prepare.
Leadership in music is collaborative — the best players elevate the entire ensemble.
Music from the Episode
John Adams - City Noir: I. The City and its Double - St. Louis Symphony (David Robertson, conductor) - Jake Nissly - drum set
Adam Schoenberg - Losing Earth: Concerto for Percussion & Wind Ensemble - The University of Texas Wind Ensemble (Jerry Junkin, conductor) - Jake Nissly - percussion
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 Elizabeth Ziman of Elizabeth & the Catapult, and at the time of this conversation, she’s about to release her new album. Now that the record is officially out in the world, we get to talk about everything that went into bringing it to life.

We begin right at that moment, standing on the edge of a release. Elizabeth describes the feeling of finally letting go of a project after years of writing, recording, and refining, comparing it to sending something deeply personal out into the world and hoping it finds its place.

From there, we dig into how this album differs from her past work. What started as scattered home recordings across multiple cities eventually became a deeply collaborative project, bringing together friends, choir members, and longtime collaborators. It’s a record shaped not just by sound, but by movement, transition, and a desire to reconnect after a period of isolation.

We also spend time talking about something that really resonates: the balance between perfectionism and letting go. Elizabeth shares how some songs took years to finish, while others were written and recorded quickly, and how learning to trust both processes has been a major part of her growth as an artist.

There’s also a fascinating conversation about the realities of being an independent artist today, the tension between creating meaningful work and navigating the demands of social media, promotion, and constant visibility. Elizabeth speaks candidly about that push and pull, and how she tries to stay grounded in what actually matters: the music and the connection it creates.

One of my favorite moments in this episode is going full circle, talking about seeing her live back in 2009 at Eddie’s Attic in Atlanta. That moment becomes a springboard into reflecting on a nearly 20-year career, and how her perspective on music has shifted from “this is hard” to “I get to do this.”

We also explore her background, from classical piano and Manhattan School of Music competitions to Berklee, where she found her artistic voice and began collaborating with musicians like Esperanza Spalding. Along the way, we talk about film scoring, directing a women’s choir, and the many creative paths that continue to shape her work.

This is a conversation about evolution, perspective, and learning to hold both discipline and freedom at once.

Key Takeaways
Elizabeth Ziman’s new album is now out, marking a deeply collaborative and expansive creative chapter.
The project began as home recordings across multiple cities before evolving into a full studio production.
Balancing perfectionism with spontaneity has become central to her songwriting process.
The modern music landscape presents both opportunities and challenges, especially around visibility and promotion.
Nearly 20 years into her career, her perspective has shifted toward gratitude and creative freedom.
Her background in classical piano and Berklee continues to influence her work today.
Collaborating across disciplines—film scoring, choir directing, and teaching—feeds her creativity.
Music from the Episode
Responsible Friend - Elizabeth and the Catapult
50/50 - Elizabeth and the Catapult
Bored of Myself - Elizabeth and the Catapult
I Love You Still - Elizabeth and the Catapult
About the Podcast

The Bandwich Tapes is my chance to sit down with musicians, songwriters, and creative artists for thoughtful conversations about their craft, their journey, and the experiences that shape the music we hear.

Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with singer-songwriter Ryan Dart for a conversation that goes far beyond music, into growth, healing, and what it really means to live honestly as an artist.

We start with Ryan’s songwriting process, which is less of a routine and more of a way of life. Whether he’s hiking, sitting in a restaurant, or wrapping up the day, writing has become a daily practice, one that serves as both therapy and a way to process the world around him.

From there, we rewind to his early years, growing up in rural Arkansas, surrounded by music from artists like Bob Dylan, Johnny Cash, and Townes Van Zandt. That foundation shaped not only his sound but also his approach to storytelling and songwriting.

Ryan shares his unique journey through the music industry, working as a producer, engineer, tour manager, and guitar tech, including time on major tours with bands like The Who, Aerosmith, and Van Halen. Seeing the industry from every angle could have pushed him away from music, but instead, it clarified his purpose.

We spend a lot of time discussing something at the center of this episode: growth through hardship. Ryan opens up about going through a divorce, rebuilding his life, and how that process completely reshaped his songwriting. Rather than rushing to document heartbreak, he allowed time and healing to transform those experiences into something deeper and more honest.

That same honesty carries into a conversation about sobriety, self-awareness, and learning to let go of people-pleasing. Ryan talks about how removing those layers has opened his creativity in ways he never had access to before, and how writing from a place of truth has changed everything.

We also get into the practical side of his current creative life, recording his new album in Colorado, committing to writing and releasing a new song every week, and building a body of work that reflects who he is right now.

This is a conversation about starting over, trusting the process, and creating from a place that’s real.

Key Takeaways
Ryan Dart approaches songwriting as a daily practice rooted in observation and emotion.
His early influences—from Bob Dylan to Johnny Cash—shaped his storytelling voice.
Working behind the scenes in the music industry gave him a full perspective on the business.
Growth through divorce and personal reflection led to a completely new songwriting voice.
Sobriety and self-awareness have opened up a deeper level of creativity.
Letting go of people-pleasing has allowed him to write more honestly.
His weekly songwriting project is building both discipline and a large creative catalog.
Music from the Episode
If Love Don't Break You - Ryan Dart
Dirt Road Woman - Ryan Dart
Dancin' On Your Porch - Ryan Dart
About the Podcast

The Bandwich Tapes is my chance to sit down with musicians, songwriters, and creative artists for thoughtful conversations about their craft, their journey, and the experiences that shape the music we hear.

Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with guitarist, composer, and producer Matthew Stevens for a conversation about identity, collaboration, and the kind of artistic clarity that only seems to come through real-life change. I’ve been a fan of Matthew’s playing for a long time, so getting to talk with him about his new self-titled record felt especially meaningful.

We start with the album itself, and one of the first things I ask him is why this record carries his name. Matthew shares that the years leading up to it brought major shifts, moving from New York to Boston, beginning to teach at Berklee, going through divorce, and eventually finding a new sense of grounding in his personal life. What comes through clearly is that this album feels like his most complete expression of himself so far. It’s not self-titled as a branding move. It’s self-titled because it sounds like who he is now.

We also talk in depth about collaboration, how Matthew brought in trusted co-producers Josh Johnson and Eric Doob, and how their presence helped him let go of control in a healthy way. That thread runs through the whole conversation: surrounding yourself with people you trust, writing with specific musicians in mind, and allowing the music to become a real conversation. We get into the sound of the record too, its grounding rhythm section, the feel of tracks like “Take Heart”, and the way so much of the album was captured live in the room over just a few days.

One of my favorite parts of this conversation is hearing Matthew talk about influence, producing, and teaching. We talk about working with heroes like Jeff Parker and Terri Lyne Carrington, producing the beautiful Doc Watson tribute project, and what it’s like to return to Berklee now as a faculty member after being deeply shaped by that school as a student. We also get into the pressures younger musicians face now, especially around social media and self-promotion—and Matthew offers a really grounded perspective on what it means to use that time instead to build actual musicianship.

This is a thoughtful conversation about sound, feel, growth, and what it means to become more fully yourself as an artist.

Key Takeaways

A self-titled album can be a personal statement — for Matthew, this record reflects the clearest version of who he is right now.
Life changes can deepen artistic identity — moving, teaching, heartbreak, and rebuilding all shaped this music.
Trusting collaborators can open the music up — working with Josh Johnson and Eric Doob helped Matthew let go of some control and go deeper.
Sound and feel are at the center of everything — even simple musical ideas come alive when the players are deeply connected.
Producing is about meeting artists where they are — Matthew’s work on the Doc Watson tribute shows how great producers guide without forcing.
Community is one of music school’s greatest gifts — the relationships built there often matter as much as the training itself.
Young musicians face new pressures — Matthew is thoughtful about how social media can compete with the slower work of building real craft.
Music from the Episode
Take Heart - Matthew Stevens (ft. Joel Ross)
Who Does She Hope to Be - Matthew Stevens (ft. Terri Lynne Carrington & Jeff Parker)
Hazy -Matthew Stevens (ft. Josh Johnson)
Alberta - Matthew Stevens (ft. Anna B Savage & Josh Johnson)
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]

About the Episode
On this episode of The Bandwich Tapes, I sit down with singer and songwriter Aubrie Sellers for a conversation about her remarkable new album Attachment Theory, and the deeper creative world she built around it. I had already been listening to the record ahead of our talk, and what struck me immediately was how singular it feels: cinematic, emotionally sharp, and sonically timeless in a way that somehow feels both old and futuristic at once.

We talk about how Attachment Theory became a true concept record. Aubrie explains that she did not start with a concept and then write toward it. Instead, the songs gradually revealed a shared emotional center, all circling relationship patterns, vulnerability, and the psychology of connection. That realization eventually led to one of the most interesting parts of the project: a companion podcast, with one episode tied to each song, exploring attachment theory and relationship dynamics in a more direct and concrete way.

One of my favorite parts of this conversation is hearing Aubrie talk honestly about performance anxiety, introversion, and learning how to shape a music career around who she actually is as a person. She shares how severe stage fright marked her early touring years, how working on her general anxiety changed things more than simple repetition ever did, and how she has become more intentional about saying yes only to the kinds of opportunities that actually fit her life and temperament.

We also dig into the sound of the record, her longtime collaboration with Ethan Ballinger, the atmospheric textures and vocal treatments, the  influence that shows up in places, and why the album feels so cinematic. Aubrie talks about the value of leaving room for experimentation in the studio, letting musicians bring their own voice into the process, and making something polished without sanding off all the soul.

Along the way, we also talk about Nashville, bluegrass, rawness in music, social media, and the freedom that comes from creating on your own terms. This is a thoughtful conversation about identity, vulnerability, artistry, and building a creative life that feels honest.

Key Takeaways
Attachment Theory grew into a concept record naturally — the songs revealed a shared emotional thread before the full concept came into focus.
The companion podcast adds another layer — each episode expands on the emotional themes of a song through relationship psychology and personal reflection.
Introversion and artistry can coexist — Aubrie has worked to build a career structure that actually fits who she is.
Performance anxiety does not always disappear on its own — mindset and emotional work can matter as much as experience.
A polished record can still feel raw — the goal is clarity and atmosphere without losing soul or imperfection.
Social media can be used with intention — Aubrie has found ways to connect authentically without treating it as empty content churn.
Honesty is the through line — whether it is country, bluegrass, rock, or something in between, the music that moves her comes from a real place.
Music from the Episode
Subatomic - Aubrie Sellers
Trigger Happy - Aubrie Sellers
Delusional - Aubrie Sellers
Little Rooms - Aubrie Sellers
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 stories, influences, and experiences that shape a life in music—one conversation at a time.

Connect with the Show

Email: [email protected]