Morse Code Podcast with Korby Lenker longform conversations with supertalents in music, film and writing.

I speak with artist and multi-instrumentalist Robert Ellis, one of the best singer-songwriters of his generation. I'll tell you why: first, his songs do what great pop songs do - grab your attention with a hook as sticky as hot honey (check out “Bottle of Wine” for an example), but you get a sense there’s always something held in reserve, something that won’t be revealed until you come back for a second or third or fourth listen.
That might have to do with Robert’s respect for the mutable laws of music theory (we talk about the relationship of the V to I cadence as the backbone for all music since Bach), or his sense of play evident in a catalogue that already spans 6 albums across genres as diverse as bluegrass-inspired ripper (“Sing Along”) to 70s’ Rock (“Nobody Smokes Anymore”), or the soft spun album “Yesterday’s News” reminiscent of Willie Nelson’s “Rainbow Connection”.
Or it could have to do with the fact that while guitar is his primary instrument (he is a *very* good guitar player) his chops on piano are formidable enough that not only did he release an album on ivories (2019’s Texas Piano Man), but he toured it heavily - in a white tux and top hat, often solo at the keys.
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Robert has played Tiny Desk, Mountain Stage, and more recently, Carnegie Hall and collaborated with countless musicians from Taylor Goldsmith of Dawes to Jamestown Revival to Tift Merritt.
A few weeks ago he took time off his tour with Parker Millsap to talk with me about his free-spirited approach to songwriting, playing and creativity in general.
In this wide-ranging conversation we talk about the narrative parallels between music and  literature, and how even chord progressions have a narrative arc. We talk about the importance of — when evaluating a prospective work of art — shifting the question from “Is it perfect”? to “Is it me?” We even venture into territory of a purely philosophical bent, discussing Free Will and its role in a empathic worldview. Robert is consistent with his meditative practice, and as a father of three, his kids often join in for the morning meditation. We hit on the importance in being absolutely present while both performing and producing, and how that ethos applies to acting. Robert recently acted in a short film, directed by his wife, filmmaker Erica Silverman. He talked a little about that experience which I found revealing and charming and hilarious.
Finally, the Texas Troubadour sat down to play his original “On the Run” live in studio on solo guitar. Watch and listen below.
There's a lot more in this conversation, one of my favorite ever on this podcast.



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On the latest episode of the Morse Code Podcast I speak with singer-songwriter, guitarist and producer Anthony Da Costa about the unique trajectory of his musical path, already nosing into its third decade.
At 33, Anthony has continued to forge a symbiotic balance between helping fellow artists realize their own visions and making songs that are uniquely his own.
We discuss his early history as something of young folk prodigy, spending his teenage years opening for artists like Loretta Lynn and Suzanne Vega. It was 2020 that saw him diving into the studio bunker, first with his own music and later, as a producer for hire.
To my mind, Anthony is one of the most interesting song-forward producers working today. In a first-time feature for this podcast, we break open a Logic session for a track he produced for me — “Meet Me at the End of the World” — and talk through some of the color choices he made, and why.
Finally, we play an unreleased song — “When You Get This Close” showcasing Da Costa’s heart-on-sleeve lyrical approach and delicate musical touch.
Song: When You Get This Close
Anthony Da Costa - Vocals, Guitar Korby Lenker - guitar, harmony vocals
I hope you enjoy this conversation and I hope it inspires you to pick up your guitar.
Korby


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On the new episode of The Morse Code Podcast I speak with singer-songwriter and ultramarathon runner Jeremy Lister about his unusual - and unusually successful - path in music, starting with his emergence in Nashville as a breakaway artist in the late 2000’s through his recent gigs singing with Eric Church at Coachella to his latest synch on Grey’s Anatomy a few weeks ago.
You never know how these conversations will go - the second half is spent unpacking Jeremy’s addiction, before and after he got sober (he just celebrated his ninth year alcohol-free) and how his decision to leave it behind led to an passion for running, marathon running, and finally, running ultras.
We also play an unreleased song of Jeremy’s, performed live in the studio - “Dirt”.
This episode got into some sensitive territory, including what was going on behind the scenes during the last Street Corner Symphony tour - an a capella group Jeremy co-founded that won Season One of the Sing-Off on NBC, hosted by Ben Folds. I’ve known Jeremy for almost twenty years, including the stretch he describes here. I had no idea what was going on with him personally at the time. It’s a testament to that quote by Socrates, invoking us to Be kind, for everyone you meet is fighting a hard battle.
Below is a direct link to “Dirt”. At the end of the video there’s an invitation to listen to (or watch) a playlist featuring all of the songs recorded live on the Morse Code Podcast. We’re up to about twenty.
Hope you find these conversations as inspiring to your own creative journey as I’ve found them to mine. ~Korby
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In episode #132 of the MCP, I speak with director Kali Bailey about her career in cinema thus far, starting with the wildly successful fan film Neville Longbottom and the Black Witch (over 8 million views on YouTube), a piece written and directed by Bailey based on a character known to Harry Potter fans everywhere. We talk about the act of faith required in seeing a large creative project through to conclusion, as well as the importance of fostering relationships with studios as a means for bringing films from page to screen.
There’s a good bit on writing here as well: we discuss the freedom of writing screenplays without financial limitations in mind vs writing to those limitations so as to actually get something made. Finally, as a female creative in a male dominated space, Kali discusses dealing with sexism on set and the strategies she’s employed to prevent it from derailing her vision. These are just a few of the topics we hit this great conversation with a rising director and a serious-minded  artist.
Listen above 👆 on your favorite platform or watch below 👇
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What did you think of this episode? I would love to hear from you - comment below!
~ Korby


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Cody Duncum is a director and cinematographer working out of Nashville. His latest effort, a short film called Where the Bullets Go, has been busy on the film festival circuit, with official selections at the The Appalachian Film Festival, Filmfort, the Oxford Film Festival, IFF Boston, and more. An in-demand cinematographer, he’s worked behind the camera with countless artists including Mumford and Sons, Miranda Lambert, George Kittle, Julian Baker, Kevin Morby… we talk about the realities of being a freelance filmworker, the future of the indie film, and the struggle to keep the paying gigs coming without losing sight of your own creative goals.


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I speak with singer-songwriter Abigail Rose on the heels of her widely acclaimed debut EP Surprise Valley, about why she had to leave the comfort of her hometown in order to discover her artistic identity. We compare notes:  I experienced a similar freedom of reinvention when I moved to Nashville almost twenty years ago. We discuss the perils and rewards of doing creative work with a life partner, and how making stuff together can deepen an already meaningful relationship. Finally I join her on three songs, live here in our studio.


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