Trevor Lawrence Jr.: Do you sit with him and say, okay, give me your vision and then we go from there and I start dealing with production and lighting? How do you even organize that for a show so huge? My guest today is a master musician, a killer saxophone player, and the Musical Director for arguably the biggest artists on the planet right now. He’s a Berklee alum who cut his teeth in the trenches with everyone from Prince to the Jonas Brothers. He’s part of a legendary horn section and has successfully bridged high-level jazz musicianship with global stadium pop. He recently served as Musical Director for the Super Bowl Halftime Show featuring Bad Bunny, Lady Gaga, and Ricky Martin. Without further ado, my brother — Miguel Gandelman. Miguel Gandelman: Bro, what’s up, man? Trevor: First of all, thank you for coming on. Let’s start at the beginning. You’re a legitimate jazz saxophone player who went to Berklee. What was that journey like? Miguel: I’m from Rio de Janeiro. I’m a fourth-generation musician — great-grandparents, grandparents, parents, uncles. My father was a saxophonist, arranger, producer, and MD. I grew up thinking that’s just what musicians do — you play, arrange, program, produce. I started programming at eight years old on Notator/Creator, which later became Logic. I didn’t separate being a player from being a programmer. That combination later became crucial in my MD career. Trevor: When did the shift from saxophonist to Musical Director happen? Miguel: Through Ricky Minor. I joined The Tonight Show band when he called me. That changed everything — steady work, stability, the ability to build a life. One day Ricky needed programming help. I stepped up. That opened doors into MD work. My first big MD tour was Kidz Bop, and it built from there. Trevor: How did the Super Bowl opportunity happen? Miguel: Relationships. A friend recommended me. The creative director knew my wife. One thing led to another. I was brought in as MD specifically for the Super Bowl. Trevor: What were the logistics like? Miguel: Chaotic. No stems. No hard drives. Rehearsals approaching. I flew to Chile and Colombia to record band elements. Songs were changing constantly. Versions kept evolving — version 47, version 51. Broadcast requires precision. Two extra seconds for a camera move means a new version immediately. Trevor: Most people don’t realize — a lot of Super Bowl elements are pre-recorded. Miguel: Yes. Vocals and specific instruments were live. Playback was triple redundant. RF coordination inside a stadium is complex. The cuatro was live — that was important culturally. Trevor: Talk about the secrecy. Miguel: Benito kept major moments close to the chest. We didn’t fully hear certain spoken-word elements until dress rehearsal. When it happened, it was emotional for everyone. Trevor: There was something extra in the air that night. Miguel: It was special. Culture, timing, circumstances — everything aligned. We were trying to put on a great show, but it became something bigger. Trevor: AI? Miguel: It’s a tool. It needs regulation, but I’m pro-technology. Just like drum machines and DAWs before it. Trevor: For young musicians who want to become stadium-level MDs — what’s the real key? Miguel: Devotion. Don’t do it for glory. Do it because you love music. Respect the art form and it respects you back. Everything else follows. Trevor: Miguel Gandelman, ladies and gentlemen. Miguel: Thank you, brother. Trevor: Until next time — we out.