Jordie Lane on Artistry, Resilience & Reinventing the Indie Music Scene. In this episode of The Morse Code Podcast, host Korby Lenker sits down with the Australian-born Nashville-residing singer-songwriter and multi-instrumentalist Jordie Lane.

Together they explore the raw realities of making a life in independent music, the necessity of artistic reinvention, and the relentless pursuit of creative authenticity. Jordie shares candid insights on navigating the ever-evolving industry, the emotional and financial struggles of being a full-time musician, and how personal reinvention is key to staying inspired.

From songwriting secrets to tour life stories plucked from his dozen plus years as a road-dogging tourbadour, this conversation is a must-watch for musicians, songwriters, and anyone who believes in the power of storytelling through music.

00:00:00 Intro

00:04:53 The contrast between outward appearances and inward reality

00:06:04 The concept behind "Tropical Depression"

00:08:14 The pandemic's impact on Jordie's mental health

00:10:10 How not being able to travel can increase anxiety

00:11:25 Jordie's decision to make his struggles with anxiety a part of his "official" album rollout

00:12:58 Korby's take on the podcast space as a reflection of culture's demaan for authenticity

00:14:43 Jumping on the authenticity train is also possibly inauthentic

00:16:01 Timeline of the album's creation and release

00:19:05 How did you finance your record Jordie?

00:20:32 Getting in and out of your own way as an artist

00:23:43 Korby's recollection of filming Jordie's video for "The Changing Weather"

00:23:59 The fundemental tension between confidence and its opposite

00:25:04 Getting pooped on as a new dad

00:26:17 Korby use of music as a means of trying to be loved

00:27:42 The imprtance of being in a good headspace to making art

00:30:12 Korby quotes Leonard Berstein's newborn baby quote

00:31:12 Dostoyevsky's claim that in order to make art you have to be both sensitive and in pain

00:33:11 Jordie's perspective on working in film and tv

00:36:04 The fraught romance of touring

00:38:01 The importance of low overhead to creative freedom

00:39:18 Jordie loves the improvised element of on stage banter

00:40:43 Jordie's advice to Korby about banter with a full band

00:42:55 A sudden glimpse into Korby's organizational efforts

00:44:03 The necessary discipline of a self-employed artist

00:48:20 Why Jordie got a shelter dog

00:51:13 The "42 Steps" of making the podcast

00:52:37 Jordie sets up "Empty Room"

00:53:42 Jordie and Korby perform "Empty Room"

00:58:03 A compliment and an inquiry

00:59:51 Jordie's current process for writing songs

01:01:35 Co-writing and trepidation

01:02:15 How Maya Angelou and John Prine write

01:02:56 More detail on Jordie's "waiting" approach to songwriting

01:05:11 What seperates those who create from those who don't

01:06:06 How Meet Me at the End of the World was written

01:07:53 The process of writing is more important than the end result

01:09:20 Suddenly Jordie and Korby are going to try to write one

The first time I saw a portrait by Shervin Lainez, I felt like I was hearing the artist’s music through a photograph. There’s an intimacy in the image, a quiet buzz that goes deeper than just the artist’s face—it captures an essence. His work has graced the pages of Rolling Stone, The New York Times, and countless album covers, shaping the way we see some of the most defining voices in modern music. If you've ever admired a striking image of Adele, Billie Eilish, St. Vincent, Tame Impala, or Orville Peck, chances are you’ve seen Shervin’s work.

But what makes his photography so compelling isn’t just the technical execution—it’s his philosophy. Shervin doesn’t take pictures; he builds connections. He listens to an artist’s music, immerses himself in their world, and lets that inform the way he shoots. His style is adaptable—what he calls chameleon-like—but always true to the artist in front of his lens. As he describes in this conversation, his long years in the game have taught him that the real magic of photography isn’t about the perfect lighting setup or the ideal location. It’s about trust, energy, and presence. If he walks into a shoot anxious or distracted, the artist will mirror that. If he brings ease, they’ll meet him there.

I met Shervin back in 2013 or so. I had a show at the Rockwood in NYC and some artist I respect had their photos done by this cool guy in the city. I wasn’t sure I could get him, but we figured out a place and in an hour I had a cache of photos I used for literal years. I mean, in addition to giving me something I could use and be proud of, he gave this awkward introvert a truly great experience. We talk about that experience and my perceptions of it. And, true story: after we taped this episode he shot a new round of photos for me, one of which is the main image I’m using across all my socials. A nice full circle moment.

In this conversation, Shervin opens up about his relentless pursuit of his craft—the years he spent shooting for free, honing his skills by trial and error, refusing formal education, and pushing forward despite uncertainty. He breaks down the difference between ambition and expectation, explaining how wanting to grow as an artist is healthy, but expecting instant success can be toxic. His journey is a testament to the idea that success isn’t about demanding the next big opportunity—it’s about doing great work until the right people take notice.

We also talk about mentorship, creative obsession, and the art of saying yes before you feel ready. Shervin shares why he never assisted another photographer, his feeling on “Can I pick your brain?” emails, and why his only real advice to young creatives is "just do it—over and over again". If you’ve ever struggled with self-doubt, comparison, or the pressure to succeed on someone else’s timeline, this episode is for you.

If you get something out of The Morse Code Podcast, please follow us on Apple Pods or Spotify or write a 5 star review or follow us on instagram or Tiktok or all of these things. See you next week!

Let’s just begin by saying there is nothing in Nashville like Pitch Meeting, Eric Fortaleza’s weekly musical highwire act. Billed as “Nashville’s Best Writer’s Open Mic” the weekly show, which resumes this Tuesday February 25th features a powerhouse band of Nashville heavies (often of 10 or more players) whose job it is to back the any songwriter who’s name is drawn from dozens of hopeful singer-songwriters.

The catch - no one has heard the song, not the audience, and more importantly, not the band.

“No chord charts, no pre-song run through,” says Pitch Meeting founder Eric Fortaleza. “We just go for it.”

I’ve been to a few Pitch Meetings, and I count them among the most exciting musical experiences I’ve ever seen. Not only does the song somehow congeal around the band, but an arrangement seems to spring out of the ground like witched water — horn parts, a guitar solo, a bridge breakdown. I feel like you don’t believe me. It’s totally crazy.

It all happens because of Eric Fortaleza, who has something of a gambler’s taste for musical thrills and guts to spare. To me, he represents a new crop of Nashville musician, something different from the guys you see down on broadway, hoping to move their way up the ranks of touring musicians to become what is the gold standard of the Nashville Cat — the A-List studio musician. That’s a laudable goal, to be sure, but in its application there’s a sense of reticence, a holding something in reserve, because “you never know who’s gonna be in the room.” People trying to get discovered may fire their flashiest tricks, but tricks are different from taking chances.

Eric is ALL about taking chances.

He came to Nashville from Sydney, Australia a couple months before the Pandemic. But he was born in the Phillipines. We talk alot about how being the child of immigrants had something to do with his inveterate hustle.

We talk about alot of stuff in this episode. His unlikely but somehow inevitable move to Nashville after ten years on the Australian scene. Why he founded Pitch Meeting, what he likes about it, what’s next. At some point in the conversation, the studio door opened to the afternoon glare and in stepped Eric’s bandmate Owen Fader, who looks like and sings like a baby faced angel. They played a song together, which shifted the direction of the podcast moving forward. What do you think I mean?

The Morse Code with Korby Lenker is a reader-supported publication. Support my music, writing and the Morse Code Podcast by becoming a free or paid subscriber.

People like Eric are why I am doing this. He’s one of the more inspiring people I’ve met — like past guests Barry Dean and Steve Poltz — I’ve had on the podcast. Music isn’t some strategy for success or fame. It’s about lifting people up and inspiring them to want more from life. At least, that’s what it is for me, and it’s how I felt when the session was over and the Eric and Owen and gone off to do something else.

Go see Pitch Meeting. Subscribe to us on Spotify. Become a paid subscriber if stuff like this means something to you. We’re doing it because life is short and we’ve a solemn obligation to live as big as we can! Alright get back out there and make something awesome.

What happens when the interviewer becomes the guest? This episode of The Morse Code Podcast is a special one—Randa Newman, Korby's wife and creative partner, takes over the host seat to interview Korby in an intimate, revealing conversation about creativity, perseverance, and what it means to balance art with real life.

Abby Jane is a singer and songwriter based in Nashville. Her debut EP “I Don’t Want to Pretend” has been the talk of the town, at least in the circles I trade in, since it dropped in October 2024. Everybody loves her fresh take on the craft of confessional songwriting, and the remarkable instrument through which she delivers those songs.

Abby Jane and I are sharing a show next Saturday Feb 15 at the Five Spot in East Nashville. Grab your tickets.

MAIR is a musical force of nature. Whether she’s playing mandolin, electric guitar, acoustic guitar, bass, nylon string banjo, her sit-up-and-pay-attention virtuosity has made her an in-demand collaborator the industry over.

She’s been touring since she was thirteen, which makes her an industry veteran even though she’s barely in her mid-twenties. If you’re into bluegrass, you might have caught her — playing as Mary Meyer — with her brothers in the Meyer Band, or on her Lick of the Day series, maybe you saw her on stage with Sister Sadie, or at Stagecoach or SXSW, or with Anna Graves opening for Stevie Nicks or Maren Morris.

Her new project MAIR, showcases her effortless singing, soft touch and flair for a tone poem kind of songwriting not unlike Elliot Smith. See it for yourself — or hear it rather — when she plays her original song “You in the Morning” live.

But first before we go deep on relationships, including her recent divorce and the rebirth that came out of that (I share a good bit on that topic as well), her upbringing as a homeschooled kid in Missouri, what’s going on inside her mind when she’s improvising, and the bold vision she has for her own ideal career in music.

I’ve been following Mair since probably 2022. I’ve dug the way she makes music and how she balances her dual identities — as a player for whom any band or song benefits — with an absolute need to expressive herself her own way. This is a magic person. Enjoy the episode!