What Am I Making Podcast

Matt Kadane and his brother Bubba knew they were destined to make music together by the time they had reached Middle School. Growing up in the small city of Wichita Falls, Texas, the brothers were raised in a musical family. Their grandmother was a terrific ragtime piano player. Their father was obsessed with jazz, pop, and the burgeoning outlaw country movement emanating from Austin, Texas. Music was a constant in their home, and as soon as they were old enough, the boys began music lessons.Eventually, the brothers would go on to form the great indie outfit Bedhead in the late 1980s. The band was slow, laconic, deliberate, and minimal. It was the perfect antidote to grunge, when that movement stormed the musical gates in 1991. Undaunted by the new sounds of that era, Bedhead doubled down on their commitment to slower songs and stripped back arrangements.During our discussion, Matt shares the story of building Bedhead from a band of brotherly love into a fully functional four piece that would garner critical acclaim, and allow the band to tour the world extensively. We talk about the ephemeral nature of shows that happened in an era before smart phones and social media. Those were nights that existed in a moment, and then were gone forever, making them seem all the more sacred.Bedhead were unfortunately lumped into a 1990s subgenre dubbed “slowcore” that also featured bands like Codeine and Low. Matt and I talk about the reductive nature of lazily lumping subcultures together based on nothing more than the most obvious parts of the music. That train of thought then leads us to a fulsome discussion of why we remember what we remember from a given era, often leading to just one or two artists from a movement being canonized, while the rest of the movement just fades away in time.We learn the lessons behind the ending of Bedhead as Matt began to pursue a Ph.D and a career in academia. Still, the songs kept calling, and Matt and Bubba soon mounted a new band they dubbed, The New Year. That outfit featured a new rhythm section, but carried on many of the same auditory hallmarks of Bedhead.Eventually, Matt secured his doctorate and began a teaching career as a history professor, leaving music on the backburner. Still, even when talking with Matt Kadane, Ph.D today, you can still feel the fires of indie rock burning bright within him.Come join me and Matt Kadane for a great chat about brotherly love, slowing things down, and a whole bunch more.Cheers,Matty COur work is solely sponsored by listeners and readers like you. Please lend your support today with a paid subscription at whatamimaking.substack.com/. Now is a crucial time for new paid subscribers. Please step up and support the show.Please consider a contribution to our crowdfunding campaign for the live record with me and The Wild Honey Collective.You can email the show anytime at whatamimakingblog@gmail.com. You can also leave us a voicemail with your questions or concerns at speakpipe.com/whatamimaking Get full access to What Am I Making at whatamimaking.substack.com/subscribe

In 2016, Sarah Kendzior’s family began a series of vacations across the American continent. Sarah, her husband, and their two children embarked on a series of lengthy road trips over several years in an attempt to fully experience the beauty of America; its landscapes, and its people. Kendzior hoped that she could show her children the most beautiful and bizarre places that this nation has to offer before America is irrevocably changed by this current wave of fascism and oligarchy.This year, Kendzior published, The Last Great American Road Trip, a memoir of these family journeys and her family’s exploration of America. While these were joyous family vacations they were often tinged with darkness and a sense of the terror yet to come. In the book Kendzior “contemplates a love for country in a broken heartland”.During our discussion, Sarah and I dive into our fragile relationship with the beautiful place we call home. Sarah shares the feeling that she had when she discovered the American west with its open skies, snowy peaks, and craggy deserts. Upon discovering that I am a Michigander, Sarah espouses her affection for the Pictured Rocks lakeshore, and we ponder whether a National Park along the Lake Michigan lakeshore would have a net positive impact on the region.Sarah and I work to dispel the myth of the “Two Americas” idea, by sharing our own experiences of crisscrossing the country and interacting with folks who hold myriad viewpoints and beliefs, all while being mostly decent people. We talk about the cultural heft of the American south and the ridiculous notion of “letting the south go”. We also remember the heady days when oligarchs at least built libraries and opera houses instead of rockets.I extol the virtues of the $75 annual national park pass that I made the most of last year, while Sarah and I worry deeply about the future of the National Park system in the hands of the Trump administration. There is extensive talk of the verdant subcultures that populate every region of our enormous country. We discuss being in God’s train set at Glacier, feeling ourselves gasp at the Grand Canyon, and learning how to tell the truth about America, warts and all.Come travel the country, and maybe find the real America with me and Sarah Kendzior.Cheers,Matty C Get full access to What Am I Making at whatamimaking.substack.com/subscribe

When Bill Janovitz arrived in Massachusetts with his family, he was unimpressed. Halfway through high school, Bill’s family moved from a verdant suburb on Long Island to a rural community in Massachusetts that was a full half hour from a movie theater. With far less stimuli than he had found at his old home, Bill was initially bored with The Bay State, but would gradually change his mind after moving away to college at UMass Amherst.What Am I Making is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.At university, Bill found a bustling community of writers, musicians, and budding intellectuals. He studied with renowned poets and crossed paths with a number of new friends that would eventually go on to define a swath of American indie-rock that would conquer the country in less than a decade.While at UMass, Bill built his own band, Buffalo Tom, and began to immediately gain traction. The band made a name for themselves playing across New England and venturing further afield along the eastern seaboard building a fanbase and a sterling reputation along the way. Over the course of a forty year span, Buffalo Tom have released eleven full-length albums and toured around the world.In addition to his work in Buffalo Tom, Janovitz is also a celebrated author. He has written for the famed 33 ⅓ Series as well as publishing an exhaustive biography of Leon Russell in 2023. His most recent written effort, The Cars: Let The Stories Be Told, is a definitive history of one of rock’s biggest acts. The book is a thrilling look at a marvelous band that is often not given their proper kudos.Bill and I also spent a few minutes discussing some of his “day job”, as we geeked out on the glorious beauty of mid-century architecture and design. Outside of his writing and work in music, Janovitz has built a real estate firm focused on the mid-century treasures that abound throughout Massachusetts. Bill shared a bit of his love for MCM design, and why Massachusetts is rife with it.Near the end of our interview, Bill describes himself as a rambler, and I am quite sure that I would qualify for that title as well. So, here are a pair of ramblers covering indie rock, The Cars, MCM, and a whole bunch more.Cheers,Matty C Get full access to What Am I Making at whatamimaking.substack.com/subscribe

My dear friend and bandmate Jeffery Gower and I recently returned from a splendid three week tour of the American southeast. While Jeff and I had toured together before on long weekends in our band, the Stick Arounds, this was the first time where Jeff would be gone longer than just a few days. And, while I have toured like this several times in the past as a solo performer, I have never done so with a companion at my side.During our adventure, Jeff and I visited historic sites, legendary musical spaces, and saw untamed natural beauty. If you have been paying attention to this space in recent weeks, you’ll likely have seen some of the Tour Diary posts that I have shared details of some of the time that Jeff and I spent together on the road. This chat is a supplement of sorts to those posts.Over the course of our discussion, Jeff and I cover a few highlights of the tour including some of our favorite shows and stops, a few of our favorite culinary delights, and the bevy of amazing people that we encountered. Because I lived this experience and because Jeff is such a great friend, this is a pretty poor interview in the technical sense of that word. Still, I hope this chat gives you some insight about touring as two friends share some of their favorite stories from the road.Cheers,Matty C Get full access to What Am I Making at whatamimaking.substack.com/subscribe

Mary Chapin Carpenter was working at a temp job in her late twenties one day when the phone rang. After an exchange of hellos, the voice on the other end of the line asked Mary Chapin if she was sitting down. Once she had taken a seat, Mary Chapin Carpenter was told that she was being offered a recording contract with Columbia Records. The news came like a bolt of lightning. For years, Carpenter had been working temp jobs and playing her songs in small bars and clubs around the Washington DC corridor. Now, she was about to be launched into the musical cosmos.Many songwriters would have crumbled under the pressure, but Carpenter thrived. With a batch of terrific songs and a marvelous voice, Mary Chapin released her debut album, Hometown Girl in 1987. In 1992, her fourth album Come On Come On, went on to feature seven songs that hit the Billboard Country singles chart, sold more than two million copies and turned Mary Chapin Carpenter a household name in country music.Unlike many country singers who had success in the 90s, Carpenter has continued to write and record new music with great success. In 2025 alone, she released a pair of albums. In January, she unveiled Looking For The Thread, a record she made in collaboration with Julie Fowlis and Karine Polwart, a pair of Scottish folk musicians. Then, in June of 2025 she unveiled a set of her own original songs on the album, Personal History.In addition to a verdant recording career, Carpenter still tours regularly. I had the pleasure of seeing her with my mother this past summer at the beautiful Meijer Gardens in Grand Rapids, MI. Mary Chapin and I discuss the ups and downs of touring in the modern age, and we go deep on a pair of the folks in her backing band. Jon Carroll, Mary Chapin’s keyboard player, is a longtime friend and also a previous guest on this show. Don Dixon, who has also been on the show, and is perhaps best known for co-producing R.E.M.’s first two records, is Carpenter’s bass player. Mary Chapin shares her unabiding love for the duo, and she waxes poetic about the bonds created out on the road together.In addition to her varied and fascinating life in music, Mary Chapin and I discuss the amazing travel experiences of her youth, and the myriad lessons that exploring the world can teach us. We talk about the bravery of the artistic act, and how crucial it is in the world we are currently living in. Mary Chapin provides a wonderful lesson about self-awareness and knowing our own limitations. And, we get to discuss the drug-like sensation of singing with other people.It’s a wide ranging talk with a one of a kind talent. Let’s get into it.Cheers,Matty C Get full access to What Am I Making at whatamimaking.substack.com/subscribe

Chris Slusarenko is a modern day indie rock Zelig. Over the course of more than thirty five years Slusarenko has channeled his unstoppable verve and enthusiasm to propel him to remarkable places. Chris has played in Guided By Voices and in the Bob Pollard side project, Boston Spaceships. For more than 20 years, he owned Clinton Street Video, an independent video store in Portland, Oregon. Chris is now currently in the great power pop outfit Eyelids, a band he formed with fellow Portlander, John Moen of The Decemberists and The Jicks. And as if those accomplishments were not enough bona fides, Chris is also the host of the Revolutions Per Movie podcast where he discusses music documentaries with musicians and other creatives.Love for rock and roll came early for Chris, and by his teenage years he had struck up a pen pal relationship with R.E.M., his favorite band. When the band came to play Portland for the first time, they even made sure to welcome Chris and his family to the show for free and invited the family to come backstage for a meet and greet with the band. The encounter only furthered Slusarenko’s deep and unabiding dedication to the power of rock and roll.As a teenager, Chris was also soaking up independent and world cinema thanks to an amazingly generous bike shop owner who loaned out arthouse and foreign films to curious kids at no cost. This opened a window for Chris that led him to find and fall in love with great filmmakers like Tarkovsky, Herzog, and others. Eventually, that initial crush on cinema led to the opening of Clinton Street Video, a shop that Slusarenko ran for 22 years. At Clinton Street, Chris hoped to create a culture that was free of shame. Although the inventory at the shop was littered with obscure and often difficult to find films, Chris strove not to have clerks laden with esoteric knowledge and a series of harsh opinions, but rather cultivated employees at the shop who were simply excited about film.In recent years, Chris has created a podcast empire through his terrific show, Revolutions Per Movie, a pod where he and a guest break down a music documentary. The show is both a deep dive into a musical film, and a wonderful ruse for deep and thought provoking discussions about art and life. The show is the anchor of a larger network of pods that Slusarenko and a host of contributors have created that are only available to Patreon subscribers. Much like yours truly, Chris Slusarenko is a man who is always making something.As if all of that were not enough, Slusarenko is also a member of the great indie-rock/power pop band, Eyelids. Slusarenko formed the band a number of years ago with John Moen, a fellow Portlander known for his work in The Decemberists and Stephen Malkmus and The Jicks. Since 2014, the band have released a quintet of albums, including albums which were produced by Chris’ old pen pal, Peter Buck of R.E.M.During the course of our chat, Chris and I manage to cover a surprisingly large amount of his resumè, which of course leads to some fascinating discussion. Chris shares his experience of being in Guided By Voices and working with Robert Pollard, a man who has been a huge influence on both of us. As we discuss Chris’ natural excitement for music and film, we cover the concept of bringing unabashed enthusiasm back to criticism and curation. Chris even talks a bit about how he got some of his favorite musicians, including Yoko Ono, Cyndi Lauper, and even Stephen Colbert to appear on his concept record.This is a wild ride of an episode with a whirlwind of a human being, and I loved every second of it. Bring your enthusiasm and hold on to your hat. Here’s me with the one and only, Chris Slusarenko.Cheers,Matty C----------------------------------------------------------Thanks so much to Chris for joining me. You can find the Revolutions Per Movie pod wherever you get your podcasts or you can support RPM directly via their Patreon. https://www.patreon.com/cw/RevolutionsPerMovieYou can also find the Eyelids terrific catalog wherever you get your music.The What Am I Making podcast is hosted, written, and produced by me, Matty C. Our theme music was written and recorded by David J. BaldwinYou can subscribe to our show wherever you get your podcasts. Please be sure to like, rate and review the show if you enjoy it. Our work is solely sponsored by listeners and readers like you. Please lend your support today with a paid subscription at whatamimaking.substack.com/. Now is a crucial time for new paid subscribers. Please step up and support the show.You can email the show anytime at whatamimakingblog@gmail.com. You can also leave us a voicemail with your questions or concerns at speakpipe.com/whatamimaking Get full access to What Am I Making at whatamimaking.substack.com/subscribe

Michael Schulman started a record label without even intending to. While part of a vibrant scene of bands in the greater Washington, DC area, Michael found himself as a member of a cadre of seven musicians playing in a combination of four different bands. Knowing that the momentum behind these bands and the individual people involved could shift at any time, Schulman sought to document what was happening at the moment. The resultant EP was pressed to 7 inch and slowly, Slumberland was born.Since 1989, Slumberland has been releasing a stream of some of the best and most beloved indie pop of the modern era. What began with Schulman’s own band Black Tambourine, and early acts like Velocity Girl, Big Jesus Trash Can, and Powderburns soon brought on acts like Stereolab, The Aislers Set, The Pains Of Being Pure At Heart, The Bats, Papercuts, Veronica Falls, and Boyracer just to name a few. To look at Slumberland’s catalog of more than 300 releases is to witness an evolution of the indie and twee-pop movements over the last four decades.Schulman found himself intrigued when he first discovered punk and New Wave on a local DC free-form station, but it was The Jesus & Mary Chain that made him feel the urge to start his own band. Without any musical knowledge or lessons, Schulman and a childhood friend set to learning how to be in a band. His initial excitement over the debut Jesus & Mary Chain record, Psychocandy was the first in a series of dominoes that led to Schulman owning and running an indie label for 36 years.Obviously, during Slumberland’s run, the world, the musical economy, and Schulman himself have all changed. Mike and I discuss how difficult it is to find coverage for bands in a shrinking musical ecosystem. We also both wax a bit poetic about the power that was once wielded by the music press and college radio. Mike and I also wonder if the actual power and influence of music is waning in our modern culture.Mike and I discussed the amazing variety and quality of the music that was dubbed “alternative” or “college rock” in the days before the Grunge boom. We talk about the challenges of owning and running a label in 2025, and the changing nature of where Schulman’s focus and priorities are in relation to Slumberland and its future output. We also acknowledge that every creative work is a political act, especially in today’s uber-fractured America. Simply putting out a record or releasing a podcast into the world can be seen as an act of artistic defiance for the rest of modern American life.Come join me and Mike Schulman for a wonderful chat about an accidental life in the music business. Let’s get into it.Cheers,Matty C-----------------------------------------------------------You can find Slumberland’s catalog wherever you get your music and you can support them with direct purchases on their Bandcamp page at https://slumberlandrecs.bandcamp.com/Buy tickets for our Live Recording Event at the Robin Theater on Dec. 3. http://therobintheatre.comThe What Am I Making podcast is hosted, written, and produced by me, Matty C. Our theme music was written and recorded by David J. BaldwinYou can subscribe to our show wherever you get your podcasts. Please be sure to like, rate and review the show if you enjoy it. Our work is solely sponsored by listeners and readers like you. Please lend your support today with a paid subscription at whatamimaking.substack.com/. Now is a crucial time for new paid subscribers. Please step up and support the show. You can email the show anytime at whatamimakingblog@gmail.com. You can also leave us a voicemail with your questions or concerns at speakpipe.com/whatamimaking Get full access to What Am I Making at whatamimaking.substack.com/subscribe

As a youngster in Little Rock, Arkansas, Ben Nichols wasn’t really sure what to do with himself. His brother Jeff had begun acting in the local children’s theatre at the age of ten, and by high school seemed destined for a life in and around the movies. With an innate curiosity and an eye for literature, Ben considered an English degree after high school, but he failed to find his calling in the prickly tedium of dissecting fiction. He turned instead to the world of reality, obtaining a history degree from a small college in his home state.Throughout his academic exploits, Ben worked at the craft of writing songs. He’d first been moved to start a band in high school, inspired by local kids who put on makeshift shows at the riverside pavilion in Little Rock. Ben loved playing in bands, but he found his true calling in the dirty work of songwriting. He became obsessive about each word, each punctuation mark, and every minute detail.By his early 20s, Ben had formed Lucero, and began touring with the band almost constantly. During their more than 25 year run, Lucero have played stages around the world, and amassed a vast, and varied catalog of music that is centered around the songs of Ben Nichols. Lucero’s tunes are often, in the words of Nichols, “about whiskey and heartbreak”, but they are also steeped in personal experience, and even family history.Ben and I spend much of the early portion of our interview talking about the terrific Lucero tune, ‘The War’ which tells the story of a young man’s experience in World War Two. The song is littered with many of the real life experiences that Ben’s own grandfather endured from D-Day through to the end of the War. While the tune is filled with personal touches and moments of history, it is also deeply resonant with themes of sacrifice, faith, and fear.At the relatively late age of 42, Ben became a father. We discuss how that massive life change has affected his songwriting, his touring, and his outlook on life. Ben also shares the ways that the economic landscape has changed significantly for Lucero since the pandemic fell upon us. Costs have risen, ticket sales have shrunk, and Ben isn’t sure what this all means for the band he has fronted for almost thirty years.Ben will also be out on a solo tour in the western part of the US starting on Nov. 5 with a fiddle player and pedal steel player in support of his recent solo album, In The Heart Of The Mountain. It was terrific to catch up with one of my favorite songwriters right before we both hit the road at opposite ends of the country.Let’s get into it.Cheers,Matty C------------------------Be sure to catch me on the road during most of November with my dear friend, Jeffery Gower. You can find a full list of dates and even get the chance to have us play a concert at your place at https://www.phonophorerecords.com/sheddiointhesouthThe What Am I Making podcast is hosted, written, and produced by me, Matty C. Our theme music was written and recorded by David J. BaldwinYou can subscribe to our show wherever you get your podcasts. Please be sure to like, rate and review the show if you enjoy it. Our work is solely sponsored by listeners and readers like you. Please lend your support today with a paid subscription at whatamimaking.substack.com/. Now is a crucial time for new paid subscribers. Please step up and support the show. You can email the show anytime at whatamimakingblog@gmail.com. You can also leave us a voicemail with your questions or concerns at speakpipe.com/whatamimaking Get full access to What Am I Making at whatamimaking.substack.com/subscribe

In 2017, music writer John McKie sat down to pen an in-depth piece focused on the greatness of Prince’s 1987 album, Sign O’ The Times. McKie describes the finished essay as an honorable failure. It was good enough for the moment, but he was left cold by the uncharted territory not covered in the piece. John longed to trace the path of Prince from his beginnings as an artist through his impressive catalog to excavate how an artist like Prince could conceive of an album like Sign O’ The Times.In March of 2020, John lost his Dad, and within a matter of days, he found the world shuttered in the wake of the Coronavirus pandemic. With time on his hands and the influence of his Dad’s death, John set to work researching Prince’s history. He interviewed dozens of people involved in one way or another with Prince’s work and life. Through this vast research, McKie began to form a picture of a supremely talented individual fueled by self-doubt, and a profound desire to prove his own worth.John shares the story of Prince’s legendary gigs at the famed Ritz in Los Angeles, which were attended by some of the biggest stars of the era. These mythic shows helped Prince to land a pair of opening slots for the Rolling Stones at the massive LA Coliseum. Unfortunately, the Stones’ audience were none too kind to the young, black, funk performer from the Upper Midwest. McKie explains how this traumatic experience might have been the fuel that powered an artistic explosion that would play out over the next seven years of Prince’s career.During our chat, John and I look at Prince’s maniacal artistic pace, and the pressure that he put upon the musicians and crew-people that worked for him. We explore the artistic and financial motivations behind Prince’s switch from his own name to a logo; another move that may have been influenced by The Rolling Stones.This is a fascinating conversation about a man who is one of the few musicians that could accurately be described as a truly visionary artist. During our chat John manages to humanize Prince, and allows us to see some of the humanity behind the myth. You’re sure to find something to love within this discussion even if you’re a Prince agnostic.Cheers,Matty C------------------------------------------------Thanks so much to John for joining me. You can find his new book, Prince: A Sign Of The Times at UKbookshop.org or wherever you get your books.Be sure to catch me on the road during most of November with my dear friend, Jeffery Gower. You can find a full list of dates and even get the chance to have us play a concert at your place at https://www.phonophorerecords.com/sheddiointhesouthThe What Am I Making podcast is hosted, written, and produced by me, Matty C. Our theme music was written and recorded by David J. BaldwinYou can subscribe to our show wherever you get your podcasts. Please be sure to like, rate and review the show if you enjoy it. Our work is solely sponsored by listeners and readers like you. Please lend your support today with a paid subscription at whatamimaking.substack.com/. Now is a crucial time for new paid subscribers. Please step up and support the show. You can email the show anytime at whatamimakingblog@gmail.com. You can also leave us a voicemail with your questions or concerns at speakpipe.com/whatamimaking Get full access to What Am I Making at whatamimaking.substack.com/subscribe

If you have paid much attention to the worlds of indie rock, freak folk, and independent film in the last four decades, it’s likely that you have encountered some of the work of singer, songwriter, and actor Will Oldham. Oldham was born into a Louisville, KY family that was home to a robust record collection, and a deep regard for art and music.As a teenager, Oldham began acting in the Lousiville theater scene and quickly landed a role as a feisty young preacher in the John Sayles film, Matewan. The experience helped him to understand the ingredients for healthy artistic collaboration. The experience also set the bar pretty high in Oldham’s mind as to what could be achieved when a group of artists and craftspeople all pull in unison in one artistic direction.By the time he had finished high school, his parents had gifted him a guitar and he’d begun to learn to play familiar songs and quickly began writing his own. With his brothers, he formed a nascent band they dubbed Palace Flophouse. Will, and his brothers with varying degrees of input would make records under a variety of monikers like Palace Music, Palace Bros., or even simply Palace throughout much of the 1990s.By the late 90’s, Oldham had settled upon the moniker of Bonnie ‘Prince’ Billy, releasing a string of critically acclaimed records that featured songs that were eventually covered by a series of massive artists including Johnny Cash, who recorded a version of the Bonnie ‘Prince’ Billy tune, ‘I See A Darkness’.In addition to an extensive catalog of releases centered around his own songs, Oldham is a supreme interpreter of other songwriters as well. He’s made a series of recordings that feature terrific cover versions, including a pair of records done in tribute to the Everly Brothers and Merle Haggard respectively.Bonnie ‘Prince’ Billy continues to record and tour with regularity. As Will and I discussed in our chat, he had just been booking hotel rooms for a show in Indiana the afternoon that we sat down together. And while he has learned to truly harness the joy of live performance, something that came to him later in his career, Will has grave concerns about the state of the music business, and the way fans are currently investing in and engaging with the music they enjoy.This is a roving and riveting discussion with a truly visionary, and one of a kind artist. Will shares how human relationships have always been at the core of his work, and talks about the ways that he and his band use as much local crew as possible at their tour stops to connect with local music communities in a more foundational way. We explore the artistic endeavor of being an audience member, and we take a look at how letting your guard down leads to the most magical moments of all.Cheers,Matty C Get full access to What Am I Making at whatamimaking.substack.com/subscribe

This week, we are turning the tables at the WAIM podcast as I cede the captain’s chair to become the guest on my own show. My longtime friends and frequent collaborators, Barry and Abigail Hummel of the great Pops on Hops podcast will be de facto hosts this week as they quiz me and my bandmate/dear friend Jeffery Gower about the classic Stick Arounds album Ways To Hang On, about our upcoming tour to the South later this Fall.For those not familiar, Pops on Hops is a father/daughter podcast that centers around music and beer. The hosts, Barry and Abigail Hummel share an album and a selection of beers in each episode to bridge musical generations and expand their collective palettes. In addition to being big music fans and hosts of a great podcast, the Hummels have long been big fans and supporters of my creative work. In 2023 and 2024, I made treks south to Gainesville, where Abigail lives, to play at gigs generously arranged by the Hummels.This November, Barry and Abigail are having me back down for another visit, this time with my bandmate and dear friend, Jeffery Gower along for the ride. To help get the word out about the tour and to give us an excuse to share a beer together via Zoom, Jeff and I convened in the Sheddio and spent a wonderful couple of hours with the Hummels.During the discussion, we sample a trio of craft beers and cider from the Sunshine state, including breweries located in the cities we’ll be playing on the tour. Barry and Abigail also put the 2018 Stick Arounds album, Ways To Hang On under the Pops On Hops microscope. They each share their three favorite songs from the record, and invite me and Jeff to open up about where the songs came from, what they mean, and how they came to form our best recorded work as a band.Come and learn a bit more about a Stick Arounds classic, a few new alcoholic offerings, and a whole load of musical love.Cheers,Matty CThanks so much to Barry and Abigail for captaining this week’s episode. Thanks also to my dear friend and bandmate Jeffery Gower for joining us as well. You can learn more about Pops on Hops at https://popsonhopspod.com/ and be sure to go to https://www.phonophorerecords.com/sheddiointhesouth to learn all of the details about my upcoming tour with Jeff to Florida and back.The What Am I Making podcast is hosted, written, and produced by me, Matty C. Our theme music was written and recorded by David J. BaldwinYou can subscribe to our show wherever you get your podcasts. Please be sure to like, rate and review the show if you enjoy it. Our work is solely sponsored by listeners and readers like you. Please lend your support today with a paid subscription at whatamimaking.substack.com/. Now is a crucial time for new paid subscribers. Please step up and support the show. Please consider a contribution to our crowdfunding campaign for the live record with me and The Wild Honey Collective. Link in the show notes. You can email the show anytime at whatamimakingblog@gmail.com. You can also leave us a voicemail with your questions or concerns at speakpipe.com/whatamimaking Get full access to What Am I Making at whatamimaking.substack.com/subscribe

Terra Lopez has been making music and touring for the last fifteen years. She began her career as a founding member of the duo Sister Crayon which later adopted the moniker, Rituals of Mine. Over her career, which included a stop at a major record label, Terra has built an impressive loyal following. Until the Covid outbreak that audience was a viable outlet for her to earn a nice profit regularly touring the country with a small band and crew.In 2023, when Lopez toured with the same structure she had been using for more than a decade, she ended up losing money on the entire endeavor. It was yet another sign of the changing landscape for independent artists.Terra brings all of this experience and more to her day job at Backline, a non profit that connects music industry professionals and their families with mental health and wellness resources. Working with more than 1,500 mental health professionals, Backline has already helped more than 77,000 music industry professionals gain access to crucial mental health services, all for free..During our chat, Terra and I cover the host of unique mental health needs of the music community; from the financial stress of a creative lifestyle to the unrelenting workload required to simply stay relevant and financially stable in a world dominated by social media content. We talk intensely about how all art is political, despite its subject matter. We also discuss the separated lives of touring musicians, and the stop/start nature of the artist’s existence.I get some amazing advice from Terra about how to handle toxic positivity and how to help manage my own trauma and grief, or at least my own perception of it. We chat about creating the spaces that you need to be your truest self, and Terra shares a poem that is the best antidote for imposter syndrome that I have ever heard.This is a remarkable talk with a woman who is making great music and changing lives with her advocacy work. In essence Terra Lopez is doing double duty while she works to make the music industry a safer, kinder, and more equitable space for everyone.Cheers,Matty CSupport the Matty C & Wild Honey Collective Live Album ProjectSheddio In The South Tour Get full access to What Am I Making at whatamimaking.substack.com/subscribe

Rob Janicke grew up in a house where music was always present. To his young ears, music was entertainment, excitement, and enlightenment all wrapped into one big, beautiful sound. He was first drawn to theatrical artists like David Bowie and Ozzy Osbourne, but also quickly began to realize that lyrical content and emotional heft were just as vital as the costumes and shape-shifting personas that had first drawn him in. Growing up with a single mom, Rob tackled a hefty amount of adult responsibility at a relatively young age as he helped to care for his younger sibling after school. MTV and the radio provided the daily soundtrack each afternoon after school was over. This early attachment to music eventually led to a lifelong obsession with songs. Channeling his love for music and a passion for writing, Rob built a following with his blog, Generation Riff. Eventually, those writings led to the publication of Slacker - 1991, Teen Spirit Angst, and the Generation It Created.  In that book, Rob discusses the societal changes that came with the ascendance of grunge, and the shifting cultural world that followed in its wake. Rob also infuses the book with his own personal stories that cover his journey through the music business, as well as some of the personal battles he’s faced including a series of mental health struggles.During our chat, Rob and I cover his personal path through the music industry, and unlock some of the things that made him fall so hard for music as a young person. We talk intensely about the cultural landscape of the late 80’s and early 90’s, and the myriad of talent and sonic quality that was readily available in a host of genres all happening at the same moment. It was an era where talent was fostered for the long term, and not just capitalized on in the short term. Sadly, those days have essentially disappeared. Rob and I discussed what has happened in the last three decades to change that industry so dramatically. We cover the massive selloffs happening as power conglomerates in the music industry between just three major companies. These massive companies are no longer in the business of developing artists, they are solely interested in moving product. The music is a widget, nothing more. The conversation is not all doom and gloom, of course. Rob and I discuss the ways that the greatest artists are always chasing themselves, seemingly three steps ahead of their own audience at times. An icon like David Bowie, with his myriad personas is a great example. We also talk about some of the signs of a cultural revolution amongst younger fans and artists alike that is heaping right now.This is a great chat with a dude who has always just been chasing that same raw emotion and pure power that he first heard in music as a child. Come chase the dragon with us. Cheers,Matty CSupport the Matty C & Wild Honey Collective Live Album ProjectSheddio In The South Tour Get full access to What Am I Making at whatamimaking.substack.com/subscribe

“The Brands My Daddy Drank”, the new song from Lansing country duo Deer & Elk, is ostensibly a tune of faded beer brands and childhood memories. While songwriter and singer Jeffery Gower never mentions any specific beer names, those of us in a certain age bracket might visualize a montage of vintage ads from Lowenbrau, Schlitz, Stroh’s and more.The song evokes flickering moments of years long past, stacked like so many empty bottles on the table. Over the course of the tune, we’re transported back through the gauze of time, to a moment and a place that we’re not completely sure even really existed. “The Brands My Daddy Drank” pretty well encapsulates the ethos of Deer & Elk, the country duo composed of Jeffery Gower and guitarist and singer Jason Lantrip. The band is built on a strong sense of memory, and even pangs of nostalgia. Using the template of classic country, Deer & Elk combine Jeff’s tremendous penchant for compact storytelling interlaced with Jason’s slap-echo electric guitar slinking around the corners of the room. The duo then layer sweet, AM Gold vocal harmonies over the top for a new brand of cowboy-country-cool.In combining a host of great original songs and a carefully curated set of cover tunes, Deer & Elk have already found a sound, and an audience in their home state of Michigan. Their first single, ‘Big Penny’, a tune that tells the story of Lansing’s famed truck eating bridge, was something of a regional hit. The band’s live schedule is also packed with several shows every month throughout the state. The bulk of this week’s pod will feature Deer & Elk playing live from the Sheddio. I’ll pop in during the middle of their performance for some conversation with our guests, but this week will be music heavy. So, grab a beverage, find a comfy chair, and settle in for this very special, somewhat unusual, episode of the show - live with my friends in Deer & Elk.Cheers,Matty CDeer & Elk WebsiteDeer & Elk BandcampMatty C & Wild Honey Album ProjectSheddio In The South Tour Get full access to What Am I Making at whatamimaking.substack.com/subscribe

On Friday morning, I went live on Substack with my pal Seth Werkheiser over at Social Media Escape Club to talk about my massive live album project with The Wild Honey Collective, and oh so much more. What began as a simple chat about the details of my project quickly evolved into a dialogue on the overarching importance of storytelling, and the power of permission.In our conversation, I walk Seth through the machinations of the Wild Honey project, including the details of how we’re planning to record, mix, master, promote, and release a record on a shoestring budget, while also compiling footage for a documentary and concert film. It is a wildly ambitious project, and feels like a Sisyphean task.Seth and I tackle the issue of raising real dollars through a crowdfunding campaign for a project like this in a world where consumers are so used to getting their music and film for something close to free. We cover the high and lows of steering your own creative ship for a living, and the loneliness that can come with the artistic pursuit.There is some frank discussion about Substack’s ongoing Nazi problem, and what our obligations as creators on the platform might be to help reform Substack before we begin jumping ship. This leads us straight into a deep discussion about the power of permission and representation. This is a wide ranging chat with a fun and curious dude. It was also kind of fun to be “on the other side of the mic”. Thanks so much to Seth for the invite and to all of you who joined us live. Cheers,Matty C Get full access to What Am I Making at whatamimaking.substack.com/subscribe

The idea for Chris Dalla Riva’s brand new book began as something of a lark. Chris and a friend simply wondered what they would learn if they listened to every number one hit starting with the very first Billboard Hot 100 Chart in 1958. The resulting book, Uncharted Territory: What Numbers Tell Us About The Biggest Hit Songs and Ourselves is a data driven look at the history of pop music as we know it. It’s also a remarkable window into America’s musical and cultural history. Chris and I talked deeply about the ways in which technology is constantly shaping the way that our music sounds, the ways in which we experience it, and that technology forever changes what it actually means to “release a record”. Still, with all of that change, as listeners we have solidified in our minds the ways in which we think music ought to operate. There are codified ideas about albums, side lengths, and song sequencing that were based on the limitations of vinyl albums that have defined what we think of as a record, long after vinyl has stopped being the dominant musical format. Another terrific example of the ways that technology pushes our creative output is to study the early recordings of Bing Crosby or Frank Sinatra who were some of the first singers to benefit from new developments in microphone amplification technology. As great as those singers were, the availability of this new technology made their talent more captureable. Chris also shares the story of how Gregorian chants were written to be sung within massive Cathedrals with intense amounts of reverb. With these sonic limitations to work with, Gregorian monks came up with simple songs and chants that allowed the space and the reverb to enhance the music.Over the course of researching the book, Chris found himself noticing unusual, and unpredictable trends in pop music. In many respects, the myriad novelty hits and one-hit wonders that top the charts on a given week are a direct reflection of America’s scattered cultural attention. This project has proven out that every era of popular music has had its share of true greatness and an occasional smattering of dreck. In finishing the book, Chris admits he isn’t worried about the future of music, but he is worried about finding a new way for artists to get paid. Chris is correct that the music will remain, but he and I are both concerned deeply about the economic future of the industry and we're both fearful of the tech overlords who seem to be leading the charge. Still, the music remains. So come along with me and author Chris Dalla Riva for a stroll through the history of American culture one number one tune at a time. Cheers,Matty C Get full access to What Am I Making at whatamimaking.substack.com/subscribe

Larry Crane shares a piece of wisdom in our conversation that has stuck with me since the moment we recorded it. As we were talking about the process of making and releasing records and the idea of how musicians should be compensated for their work, Larry simply said, “Music is not merit based.”It sounds like a harsh statement, but it is completely and totally true. Each of us can likely rattle off a handful of bands that we believe should have been huge. While most of us also have a huge band or artist that we find unctuous and irredeemable. It’s not enough to just write a great song and turn it into a great record. It takes ability, dedication, consistency, discipline, and a shitload of luck.While much of the music business is a crapshoot, Larry and I talk about a few of the tools artists can employ to stack the odds in their favor. Larry shares how much bands still struggle with basic arrangement ideas like tying the kick drum to the bass guitar, or even making sure that the band is functioning as a unit. Despite the fact that it is easier than ever for a band to record their own tracks at home, these nascent artists are often still struggling with the basic concepts of writing and arrangement. Larry and I talk deeply about his relationship with the great singer/songwriter Elliott Smith. In Elliott, Larry found a kindred musical spirit who embodied all of the great things about songwriting, arrangement, and recording that brought Larry to music to begin with. The pair even found a way to work together as Larry was first building his studio, Jackpot Recordings in Portland, OR. Larry offered severely discounted studio time to Elliott for his help in getting the studio into working condition. As the line between DIY consumer gear and professional level equipment continues to blur, Larry is quick to remind folks that great records can be made on the most basic of equipment. We use the Nebraska record by Bruce Springsteen as a prime example.We chat about Larry’s opportunity to work with the terrific Australian rock band, The Go Betweens who made one of their last, and probably best sounding albums at Jackpot with Larry behind the controls. There are tales of M. Ward, She and Him, The Decemberists, Sleater Kinney, and even R.E.M. that pop up in our talk. This is a fascinating chat with a guy who has been learning on the job since the first day he sat down in his high school electronics class and slowly immersed himself into a world of recording and capturing music. As he says, he has been paid to learn almost everything he knows, and the proof is in the terrific work he continues to churn out every day. Cheers,Matty C Get full access to What Am I Making at whatamimaking.substack.com/subscribe

Jason Narducy never dreamed in a million years that he would be the one to get all four members of R.E.M. back on stage together. But somehow, it happened. For years Narducy and his friend and actor Michael Shannon have been playing R.E.M. tribute shows with a crew of Cracker Jack Chicago musicians. In late February of 2025, Narducy, Shannon and company were playing a sold out show in Athens, GA, as part of a tour to celebrate the 40th anniversary of R.E.M. ‘s second album Reckoning. All four members of R.E.M. were in attendance for the gig and one by one they appeared on stage for an emotional and historic moment. It was pure magic.Since forming a childhood punk outfit that he christened Verböten at the age of ten, Narducy has enjoyed a life that revolves around rock and roll. Aside from the R.E.M. band with Michael Shannon, Narducy is renowned for his work playing bass with the Bob Mould band and in Superchunk. He also has a terrific band of his own called Split Single driven by Jason’s great songs and voice. As if that were not enough, he also tours regularly playing guitar in Sunny Day Real Estate.In addition to reuniting one of the greatest acts in rock history, and playing in rock clubs across the world, Narducy is now a published author. His new book, Mostly The Van, Volume 1 is a look at the beautiful absurdity of touring in a rock band. Narducy shares myriad stories of struggle, humor, and empathy in his terrific tome. In addition to being a tremendous series of tales, it is also an unvarnished look at the not so glamorous life of the touring musician.In recent years, Jason has also become one of the artists most active on the house show circuit. Jason and I spend some time hitting upon the intimate beauty of these events, and talking about the reasons why they are such an economic boost for artists without enough of a following for a typical club show.Thanks so much to one of the busiest dudes in show business for taking some time to sit down and talk about all of this and more.Cheers,Matty C-----------CreditsThanks so much to Jason for joining me. Please grab a copy of his brand new book Mostly The Van from the link in our show notes. The What Am I Making podcast is hosted, written, and produced by me, Matty C. Our theme music was written and recorded by David J. BaldwinYou can subscribe to our show wherever you get your podcasts. Please be sure to like, rate and review the show if you enjoy it. Our work is solely sponsored by listeners and readers like you. Please lend your support today with a paid subscription at whatamimaking.substack.com/. Now is a crucial time for new paid subscribers. Please step up and support the show. You can email the show anytime at whatamimakingblog@gmail.com. You can also leave us a voicemail with your questions or concerns at speakpipe.com/whatamimaking Get full access to What Am I Making at whatamimaking.substack.com/subscribe

Robbie Fulks first arrived in Chicago in 1983 with a pregnant girlfriend and not much of a plan. In fairly short order, he landed a job at the legendary Old Town School of Folk Music on the city’s north side. At the Old Town School, Fulks found a community of like-minded musicians and thinkers. He honed his chops, worked on his original songs, and soaked up the atmosphere.By the time Fulks was ready to record his own material he began working with the now legendary Steve Albini at the controls. Their early efforts were recorded in the Albini basement before Steve had a proper studio of his own. Fulks paints a picture of Albini as a rabble-rouser with a firm moral code. It’s a fascinating look at a mercurial figure in the annals of indie-rock.Fulks also shares his impressions of the shifting Chicago music scene of the early and mid-1980s. By the time that Robbie had arrived in the Windy City, the wave of singer/songwriters led by John Prine and Steve Goodman had run its course, and the city had not yet become a mecca for the guitar based indie rock that would shape the sound of the 1990s in Chicago.Robbie shares the harrowing tale of making a record on a remote Scottish island with the band, The Mekons. Despite minimal planning, and haphazard conditions, the recording and subsequent tour were a remarkable and enlightening experience, mostly thanks to the Mekons leader, Jon Langford.During our discussion, Robbie shares his approach to songwriting, and even touches on a song that he has stopped playing due to its lack of lyrical sensitivity. We run through some of Robbie’s catalog, and even chat about the nature of recording, and reinterpreting a cover song. This is a wide ranging conversation with a fascinating and funny dude who just happens to be one of the very best songwriters working today.Cheers,Matty C- - - - - - - -Thanks so much to Robbie for joining me. He is out on the road in the US throughout much of the late winter and spring. You can full dates at http://www.robbiefulks.com/The What Am I Making podcast is hosted, written, and produced by me, Matty C. Our theme music was written and recorded by David J. BaldwinYou can subscribe to our show wherever you get your podcasts. Please be sure to like, rate and review the show if you enjoy it. Our work is solely sponsored by listeners and readers like you. Please lend your support today with a paid subscription at whatamimaking.substack.com/. Now is a crucial time for new paid subscribers. Please step up and support the show. You can email the show anytime at whatamimakingblog@gmail.com. You can also leave us a voicemail with your questions or concerns at speakpipe.com/whatamimaking Get full access to What Am I Making at whatamimaking.substack.com/subscribe

David Gedge’s 40 year stint as the main man behind The Wedding Present comes down in great part, to luck. John Peel, the famously powerful DJ from BBC’s Radio One took a shine to the first Wedding Present single, and played the song a whopping ten times on a single show. The power of Peel’s nationwide show and his influence as a tastemaker helped to pave the way for the Wedding Present to get a real opportunity at stardom.Gedge and his bandmates would not squander their opportunity. In 1986, The Wedding Present released their legendary debut album, George Best. The album was living proof that the band were far more than a one hit wonder. Fans and critics began flocking to the Weddoes in droves.During their four decade run, The Wedding Present have maintained a strong following throughout Europe and in their native UK, and have even found regional successes in the vast expanses of the United States. David and I talked about the differences between touring in America versus life on the road in Europe and Great Britain. We also take a look at some of the cultural differences that exist between the Brits and their American cousins.David also shares stories of working with legendary recording engineer Steve Albini in Chicago, and talks about the discoveries he and his bandmates made whilst reinterpreting much of the Wedding Present catalog during the Covid lockdowns. We cover transitioning from a singles mindset to an album outlook when making and releasing records, and David even shares the story of the time he took the Trans-Siberian Railway to a gig.Cheers,Matty C Get full access to What Am I Making at whatamimaking.substack.com/subscribe