Beyond the Stage: Artistry, Preservation, and the Power of Pause: A conversation with William Underwood III
Beyond the Stage: Artistry, Preservation, and the Power of Pause
A conversation with William Underwood III
William Underwood III performs across traditional, avant-garde, social, and sacred arenas. He holds a Bachelor of Science in Music from Florida A&M University and a Master of Music in Flute Performance from Wayne State University. William has toured extensively in Japan with Kyodo Tokyo Incorporated and regularly works as a soloist, collaborator, and recording artist.
Origins
Q: Can you take us back to the beginning of your journey as a flutist? What drew you to the instrument, and what kept you committed over the years?
A: Interestingly enough, the flute wasn’t my first choice. At age 11, I chose Instrumental Music as an elective. My initial picks were clarinet and trumpet — but my then-Bugs Bunny overbite made both impossible. My band director, David Berry, and I tried just about every wind instrument before he said, “Well, William, there’s one more instrument you can try if you want to be in the band… the flute.” I sighed — but obviously obliged. Voila: a sound!
To be fair, I had some early exposure to the instrument — an old Artley that belonged to my mother was lying around at home. She played in high school.
I like to say the flute chose me. I’ve stayed with it because of the beautiful form of communication it offers, the opportunity to share in a cherished art form, and the deep lessons of confidence and growth I encountered at a young age. I believe music to be a calling, not just a job or hobby.
Q: Growing up in Detroit, what was your musical environment like? How did the city’s deep musical legacy shape you?
A: Detroit’s musical landscape is incredibly rich! Between institutions like Motown, the Detroit Symphony Orchestra, the Montreux-Detroit Jazz Festival, and Movement, I had the opportunity to witness remarkable musical acts. My parents also have impeccable taste — they go together like white on rice, as we say.
I fondly remember listening to Willie Bobo, especially Dindi, Gary Bartz, Stevie Wonder, and The Winans. Even when we listened to pop, hip-hop, and R&B, my parents only played music with excellent rhythm or strong musical integrity.
Present Day
Q: What does your musical practice look like today — both creatively and professionally?
A: I’m constantly documenting melodies. At this point, I have over 600 voice memos on my phone! I record remotely for frequent collaborators and friends in the hip-hop and R&B spheres. And Western classical music will always have a place in my heart; I adore the flute and piano repertoire.
I don’t view creative work and professional work as separate. Both require dedication and a particular exactness.
Q: You now live and work in the Bay Area — how did that move come about, and what does the West Coast offer you as an artist?
A: I moved to the Bay Area in 2022 to accept the Flute Consulting Specialist role at Flute World. The opportunity — and the region — felt like a perfect fit.
The Bay Area has been a gold mine creatively. I’ve been fortunate to share my artistry in both traditional and non-traditional spaces on a formal level. Sharing music with people is a profound honor — one I take seriously and never for granted.
Identity & Integration
Q: How has your identity shaped the way you move through the classical and commercial music worlds? Do you find yourself negotiating, merging, or reimagining what it means to be a flutist?
A: Identity, such a cumbersome theme to reckon with — but I’ve come to see it much like musical genres: as gateways. Gateways to education, opportunity, connection, and expression. If we use them as such, they lead us forward. If we treat them as excuses or crutches, they will become limitations.
In terms of reimagining, especially within traditions with important histories, I don’t seek to rewrite. I aim to contribute — to honor those who came before me while building my own path.
Q: If your musical journey were a playlist, what’s on it? (Let’s hear a mix — guilty pleasures included!)
A: I love questions like these! Here’s a taste of my weekly rotation:
Tom Misch, Hiatus Kaiyote, Sade, SZA, Unknown Mortal Orchestra, Martin Martyn, Ariana Grande, Mac DeMarco — and, of course, a healthy dose of flute recordings.
Q: What’s your dream performance venue or collaboration? The sky’s the limit.
A: I would love to perform at the National Museum of African American History and Culture.
Home Life
Q: What role does your home environment play in your creative and personal well-being? Are there rituals, people, or spaces that help you stay grounded?
A: Serene living spaces invite serene thinking.
Rituals are essential for me. I pray each morning before leaving my home, and I always make my bed — military style. My closest friends are also a vital source of grounding. As an only child, I rely heavily on my chosen family, and the feeling is mutual. The ingrained symbiosis in these relationships makes life a bit sweeter.
Self-Care
Q: What does self-care look like for you these days — especially as an artist and a professional?
A: Spin class twice a week at 7 A.M., plus one long walk each week! My morning prayer also keeps my mindset positive and anchored.
The Office
Q: What’s it like managing the Flute World showroom in San Francisco? How has it impacted your relationship with the flute community?
A: I truly love the work! Helping to enrich the lives of flutists near and far feels invaluable.
Hosting masterclasses, planning reading sessions, and guiding players toward instruments that inspire them deepens my relationship with both the flute community and the instrument itself.
I would be remiss not to mention my brilliant colleague, Cyron Jed Bejasa, our Instrument Service Specialist. His meticulous, holistic approach to repair and his integrity regarding instrument health are unmatched!
Q: What do you love most about working with flutists on the gear side of things? Any surprising lessons from this side of the industry?
A: Having firsthand experience with most major flute brands has been incredibly educational. This knowledge allows me to listen deeply to players’ needs and guide them to equipment that truly suits them.
One delightful surprise: the sheer number of smiling faces I’ve seen leave the San Francisco showroom.
Musical Focus
Q: Your playing has been described as soulful, dynamic, and genre-bending. How would you describe your musical voice?
A: To borrow from Maria Montessori: free within limits.
Q: Who are some of your biggest musical inspirations — flute or otherwise?
A: Hubert Laws, Kathleen Battle, Marina Piccinini, Mathieu Dufour, Frank Ocean, Lianne la Havas, and Sharon Sparrow.
Q: You clearly bring a lot of personality to your performances. How do you approach interpreting a piece so that it feels uniquely you? What do you hope people feel or experience when they hear you play?
A: I always start with respect: seeking the essence of what already exists in the music before adding my own voice.
Tone and inflection add individuality, but they’re not the primary focus. After refining the technical aspects, finding the emotional through-line is what breathes life into any work.
I can only hope to fully enjoy the music-making experience — and to be blessed with the divine energy to deliver the intended message to listeners.
Q: What’s a project or performance that’s really inspired you recently?
A: RAYE’s live performance at the 2025 Grammy Awards was stunning!
Also, the Luxembourg Philharmonic Orchestra’s 2017 recording of Ravel’s Pavane pour une infante défunte is always in my rotation. At one point, it even served as my morning alarm — and yes, I’d hit snooze just to keep the track playing a bit longer, ha.
Mental Health
Q: How have you learned to care for your mental health as someone working both in and beyond performance spaces? Are there particular practices or boundaries that have been helpful?
A: Learning to fill my own cup before tending to others’ has been transformative.
Choosing not to take things personally — and committing to maintaining a high vibration — have both been crucial practices.
Therapy has also been immensely helpful: a powerful and evidence-based way to explore the subconscious mind through intentional dialogue.
Pause as Power
Q: In a world that often prioritizes constant output, how do you embrace the power of pause? What have moments of stillness taught you about yourself and your path?
A: When we are still, we can truly hear ourselves — and hear the universe communicating with us.
Society moves quickly, which can be exciting. But quiet moments, alone or with loved ones, are often the most meaningful.
Stillness has revealed the shape of my own journey to me — helping me witness my growth and actually participate in my present.
When we recognize that we are the protagonists of our own stories, the realities we desire begin to unfold.
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