The Bandwich Tapes

Scott Mulvahill: Collaboration, Craft, and Creative Risk

In this episode, I sit down with singer, songwriter, bassist, and musical innovator Scott Mulvahill for a wide-ranging conversation about curiosity, collaboration, and building creative worlds. We start by talking about Scott’s recent trip to Lafayette, Louisiana, where he performed Paul Simon’s Graceland in a profoundly meaningful way, including sharing the stage with original Zydeco musicians who appeared on the album. Scott explains why Graceland was such a formative record for him as a teenager, how it shaped his love of songwriting, groove, and global musical connections, and why revisiting that music continues to teach him something new every time he performs it.We talk about Scott’s busy life as a touring musician and collaborator, from solo performances to regional shows, symphonic work with Cody Fry, and juggling multiple projects at once. Scott reflects on saying yes to opportunities, spinning multiple creative plates, and why he’s drawn to work that keeps him challenged rather than comfortable. He shares the story behind his band Slap Dragon, how the group came together organically, and why playing in a band scratches a different creative itch than performing solo. We also explore the balance between solitude and community in music, and how collaboration continues to fuel his artistic growth.A significant part of the conversation centers on Scott’s experience as a singing bassist. We dig into the technical and musical challenges of singing while playing bass, especially in groove-heavy music, and how performing complex material like Graceland forces constant growth. Scott explains how difficulty, discipline, and repetition sharpen his musicianship and why pushing himself technically ultimately leads to deeper musical freedom.We also spend time talking about Scott’s years playing with Ricky Skaggs, an experience he describes as musical graduate school. Scott shares what it was like to step into a bluegrass tradition without a drum set, how time feels differently in that genre, and why it took nearly a year to feel comfortable in the band. He reflects on learning directly from masters, developing an intuitive sense of rhythm, and why that experience shaped him as a musician in lasting ways.Finally, we dive deep into one of Scott’s most ambitious projects, the Database. Scott explains the origin and evolution of this custom-built upright bass with integrated MIDI triggers and sampling, how it works technically, and why it allows him to expand his sonic world without sacrificing creativity or authenticity. We talk about technology as a tool rather than a gimmick, the balance between production and performance, and how the Database has reshaped his approach to songwriting, arrangement, and live shows. It’s a thoughtful, inspiring conversation about experimentation, craftsmanship, and following curiosity wherever it leads.To learn more about Scott, visit his website.Music from the Episode:Begin Againers (Scott Mulvahill)Fighting for the Wrong Side (Scott Mulvahill)Survive (Scott Mulvahill)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Dame Evelyn Glennie: Sound, Story, and Connection

In this episode, I sit down with Dame Evelyn Glennie to talk about what listening really means and why it matters far beyond music. We start with the origins of the Evelyn Glennie Foundation and how her work evolved organically from teaching, performing, and asking people better questions so they can hear themselves more clearly. Evelyn shares how her own experiences shaped a broader philosophy of listening that encompasses sound, the written word, and the ways we communicate through email, texts, and social media. We also dig into how technology has changed our patience and attention, and why listening belongs at the center of education, wellbeing, empathy, and community.From there, we move into the performer’s mindset and Evelyn’s lifelong curiosity about sound. She explains why she starts new repertoire from the inside out, how the body becomes an essential listening partner over time, and why recordings are only frozen snapshots rather than definitive answers. I ask her about formative training, the balance of learning by ear and reading music, and how her early environments built a deep listening culture that still guides her today. Evelyn offers a powerful reminder that every performance is a world premiere for someone, and that familiar instruments can become brand new when we hear them in a different context.We also go down memory lane through landmark repertoire and collaborations. Evelyn talks about discovering and recording Paul Smadbeck’s Rhythm Song, revisiting it years later, and even developing a creative version for marimba and strings. She reflects on the Bartók Sonata for Two Pianos and Percussion, including the intensity of working at a young age with Sir Georg Solti and the lessons that stayed with her. We then explore her long pursuit of John Corigliano’s Conjurer, how the concerto’s concept came together, and what it takes to tour a major work night after night, adapting to different instruments and acoustics. Finally, we discuss her experience performing Philip Glass’s Double Timpani Concerto with Jonathan Haas, the logistics behind that project, and why she loves the energy of shared soloist roles.To close, Evelyn shares what she is creating right now, including writing for television and film, new books, wide-ranging collaborations, duo projects, and continued foundation work that invites people to slow down, listen deeply, and rethink what connection feels like. This conversation is a masterclass in curiosity, artistry, and attention, and I’m grateful to share it with you.To learn more about Evelyn and the Evelyn Glennie Foundation, visit her website. Music from the Episode:Joseph Schwantner - Velocities for Solo MarimbaPaul Smadbeck - Rhythm SongBéla Bartók - Sonata for Two Pianos and PercussionJohn Corigliano - Conjurer: Concerto for Percussionist and String OrchestraThank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Episode 100 — January 19, 2026: The Long Way to Listening

Episode 100 of The Bandwich Tapes marks a meaningful milestone, not just in numbers, but in intention.What began as a simple idea, having thoughtful conversations with musicians I admire, has grown into a space for deep listening, reflection, and curiosity. Reaching one hundred episodes felt like a moment to pause, look back, and express gratitude to everyone who has chosen to spend time with this show.For this milestone episode, I’m honored to share a conversation with Dame Evelyn Glennie.Dame Evelyn Glennie is one of the most influential and inspiring musicians of our time. A world-renowned percussionist, composer, and advocate for listening, her work has reshaped how many of us understand sound, awareness, and musical perception. Her artistry extends far beyond performance; it invites us to reconsider what it truly means to listen.In this conversation, we explore Evelyn’s approach to listening as a full-body experience, the philosophy that guides her musical life, and the curiosity that continues to drive her work. It’s a discussion about sound, silence, intention, and the responsibility that comes with being deeply attentive to music, to others, and to the world around us.Sharing this interview as episode one hundred is a privilege, and one I’ll carry with me for a long time.Thank you for listening, for supporting the show, and for being part of this journey.Episode 100 drops January 19, 2026.

Rich Redmond: Longevity, Purpose, and Life Behind the Kit

In this episode, I sit down with drummer, educator, speaker, and author Rich Redmond, and this conversation goes far beyond the drum set. From the moment we start talking, it’s clear that Rich approaches music and life with an uncommon level of purpose, energy, and presence. We talk about why he plays every song like it might be the last one he ever gets to play, how longevity changes your perspective on time, and why being fully present matters just as much offstage as it does behind the kit. Rich reflects on nearly five decades of holding the sticks, what it means to love the work truly, and why every gig still feels like the best day of his life.We dig into Rich’s background growing up in Connecticut and Texas, how Texas marching band culture shaped his musical foundation, and why music education in that state continues to produce world-class players. He shares stories from his early training, the classic method books that shaped his hands and mind, and how transcription became a survival skill when he moved to Nashville. Rich breaks down how charting, reading, and preparation quickly opened doors, why the Nashville number system is such a powerful tool, and how learning to create efficient charts can save gigs and careers.A significant focus of the conversation is Rich’s belief in using all of your gifts. We talk about his work as an educator, public speaker, author, and podcast host, and how teaching reinforces your own understanding of music, communication, and purpose. Rich explains his CRASH philosophy, commitment, relationships, attitude, skill, and hunger, and how that framework shaped his life, his speaking career, and his approach to helping others succeed, whether they are musicians, students, or corporate audiences. He shares how blending drumming with storytelling keeps audiences engaged, why attention spans are shorter than ever, and how performance can make ideas stick in ways slides never will.We spend time unpacking his long-running work with Jason Aldean, including how studio and live drumming require different mindsets, how records are made efficiently at a high level, and why consistency, trust, and preparation matter more than flash. Rich explains how live drumming is about execution, confidence, and making everyone onstage feel safe, while still delivering energy to the back row. We talk about signature fills, macro rhythms, playing in food groups, and why honoring the record while amplifying the live experience is part of the job.Rich also walks through his teaching philosophy, from Drumtensives and masterclasses to clinics and one-on-one coaching. He explains why reading, time, left-foot independence, stylistic awareness, and charting are non-negotiables, and how meeting students where they are can unlock confidence and growth. We also dive into the soft skills of being a working musician, why being prepared, likable, and open to direction often matters more than chops, and how trust keeps you working long term.We close by talking about health, longevity, curiosity, and why Rich continues to challenge himself creatively through writing, speaking, podcasting, and new musical ideas. It’s an inspiring, practical, and honest conversation about building a meaningful career, staying hungry, and using music as a vehicle to lift others along the way.Music from the Episode:Amarillo Sky (Jason Aldean)My Kinda Party (Jason Aldean)The Truth (Jason Aldean)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Keith Horne: Time, Feel, Vocals, and the Bass Chair

In this episode, I sit down with bassist and vocalist Keith Horne, and it feels like reconnecting with a player I’ve admired for decades. I talk about the first time I experienced Keith live in 1996, when I was a freshman at Belmont University, and he was on the road with Peter Frampton. I still remember the impact of his touch, time, and musical confidence. From there, Keith and I dig into how his musical life started as a kid playing bluegrass with his dad, how flatpicking shaped his speed and articulation, and why being a multi-instrumentalist gave him an unusually complete view of the bandstand. We talk about his left-handed approach to playing guitar, how he learned guitar upside down, how he originally played drums left-handed, and why he eventually switched to a right-handed kit to survive the reality of shared backlines and sit-ins.Keith tells some incredible stories about chasing complex instruments, including the moment he finally found a left-handed pedal steel, how watching great steel players for years taught him the mechanics before he ever owned one, and how quickly he was able to apply that knowledge once the instrument was in front of him. We also trace the exact moment bass became his leading voice, when a bassist in his dad’s band left his instrument at the house, and Keith quietly learned it without telling anyone, then shocked his dad by switching instruments mid-gig at age twelve and never looking back. That leads to a bigger conversation about why starting on drums is a superpower for a bassist, how it teaches you the unspoken communication between rhythm section players, and why Keith’s time feel became one of his calling cards, including a compliment from Dennis Chambers that still stands out as one of the biggest of his life.Keith and I go deep on the singing bassist problem, how to keep vocals expressive while staying locked on bass, and how harmony singing often becomes the secret weapon that gets you the gig. He shares how his range and high harmony work opened doors, how constant performing strengthened his voice over time, and how he learned to shift between full voice and falsetto through heavy gigging and demanding material. We talk about the artists and songs that shaped his bass worldview, from Earth, Wind & Fire and Verdine White to Bernard Edwards, Stanley Clarke, Marcus Miller, Chuck Rainey, and Jaco. Keith tells the story of hearing Stanley Clarke for the first time and having his entire concept of the instrument explode overnight.A significant highlight is Keith’s time in the Virginia fusion band Secrets, a band he calls the best musical situation he’s ever been in. He tells the story of sitting in on Jeff Lorber’s Tune 88, getting a standing ovation for a bass solo, and then immediately being offered the gig. We talk about how quickly great players elevate your musicianship, how his first night in the band was also Carter Beauford’s first night, and the feeling of instant chemistry that made it seem like they’d been playing together forever. Keith also shares stories of opening for the Yellowjackets, becoming friends with Jimmy Haslip, and the surreal mirror-image moment when the band watching their soundcheck saw an upside-down bassist and an open-handed drummer and realized they were looking at a parallel-universe version of themselves.From there, we follow Keith’s move to Nashville, living with the Wooten Brothers early on, playing jam nights seven nights a week, and building a reputation fast because he could authentically cover multiple genres on demand. He breaks down how his first major Nashville gig came through the Stockyard, leading to Tanya Tucker, and how the road unfolded from there with Waylon Jennings, Peter Frampton, and Trisha Yearwood, including singing Walkaway Joe with Trisha and what it’s like to work with singers so accurate they can survive monitor failures in arenas without losing pitch. We also spend time on Hot Apple Pie, the magic of that record, why it still sounds fresh, and the frustration of how label shifts and industry timing kept the band from reaching the level the music deserved.We wrap with what Keith is doing now in Florida at the Orange Blossom Opry, what makes the venue unique, how the band tailors its opening set to match each headliner, and why the schedule can be intense during the season but still sustainable because the owners take care of the musicians in a rare way. It’s a wide-ranging conversation about musicianship, time feel, harmony, career longevity, and the kind of stories you only get from someone who has genuinely lived on bandstands for decades.Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.