Greg Roensch presents a unique live experience with Rock-n-Roll Oasis, featuring Jules Leyhe & Elisa Wendell.
In an era where studio perfection often outweighs raw emotion, Greg Roensch leans into vulnerability with his newly released album Rock-n-Roll Oasis: Live at Tiny Telephone. The project, recorded live with an intimate studio audience, brings together storytelling, spontaneity, and live musical energy in a way that feels personal and resonant.
“This project all started as a dream,” Roensch shares. “I came home one day after a studio recording session, fell asleep, and dreamt about returning to the studio to record an entire album in front of a live audience. This was my initial inspiration for Rock-n-Roll Oasis: Live at Tiny Telephone.””
Known for his background in poetry, fiction, and experimental media, Roensch brings lyrical depth to each of the album’s 18 tracks. Of those songs, the majority are his own original compositions, accompanied by two original pieces by vocalist Elisa Wendell and four carefully selected covers. The live recording features guitarist Jules Leyhe and Wendell on vocals, adding an extra layer of dynamic energy to the event. 
The concept was inspired by iconic live recordings. Roensch studied performances by artists such as Neil Young, Pete Townshend, Crosby, Stills, Nash & Young, and Joni Mitchell—not to emulate them, but to understand how they captured the atmosphere and imperfections of live performance.
“My goal wasn’t to try to sound like any of these legends, but more to get a feel for how these artists embraced the raw feel of a live performance,” Roensch explains.
With no overdubs, no second takes, and no digital trickery, the recording hinges on authenticity and audience connection. Tiny Telephone, the renowned Oakland studio where Roensch has recorded seven previous albums, became the perfect backdrop.
“Tiny Telephone is such a welcoming space that it didn’t take much to think of it as a small club rather than a recording studio,” he says.
Audience participation plays a central role. Whether singing along on “E Is for Elephant,” laughing during “Eating in My Car Again,” or growing quiet during a moving rendition of Sinéad O’Connor’s “The Last Day of Our Acquaintance,” the crowd brings a vibrant layer of life to the recording.
“I love hearing the audience’s reactions,” Roensch reflects. “These moments really bring the album to life for me.”
With Rock-n-Roll Oasis, Roensch blends poetic lyricism and musical spontaneity into a distinctive performance—a heartfelt testament to what can happen when words, sound, and community collide in a single moment of time.
