5 Videos to Welcome You to the World of Orville Peck

For the past few years, Orville Peck has graced our ears – and our screens – with a western drama that’s uniquely his. Not only do his impressive vocals and gauzy soundscapes – complete with mysterious electric and steel guitar – take the listener to a dreamy wonderland somewhere between the throwback sounds of pop music from days gone by and classic country from the likes of Patsy Cline, but the accompanying music videos – and his identity always hidden by his signature mask – have created a universe and perpetuated an aesthetic that has broken into the mainstream. Western fringe and cowboy hats seem to be everywhere these days, and while this millennium’s “yeehaw” culture was certainly brought to the masses by Lil Nas X, Orville Peck has carried it on with leather, rhinestones, and chaps – and a dramatic, distinctly countrypolitan sound.

His videos seem to transport us into a fever dream, each one a unique world all its own, but still grounded firmly in our familiar reality, and floating along the airwaves of the now-familiar, surreal world of Orville Peck. From a hazy daydream at the Chicken Ranch brothel in Reno, to chilly, isolating mountain landscapes, blossoming hope despite the consuming grasp of nostalgia, and the Daytona sands, here are five of our favorite examples that construct Orville Peck’s cinematic universe, in both song and scene:

“Dead of Night” (Pony)


“No Glory in the West” (Show Pony)


“Summertime” (Show Pony)


“The Curse of the Blackened Eye” (Bronco)


“Daytona Sand” (Bronco)


BONUS: “Legends Never Die” with Shania Twain (Show Pony)


Listen to our Essential Orville Peck playlist celebrating our Artist of the Month here.

LISTEN: Ever More Nest, “My Story”

Artist: Ever More Nest
Hometown: New Orleans, Louisiana
Song: “My Story”
Album: Out Here Now
Release Date: August 19, 2022
Label: Parish Road Music

In Their Words: “Everything in the music industry these days is about an artist’s ‘story.’ We like to think the music is what draws people in, but over and over, the machine emphasizes that it’s the narrative or the person behind the music that really matters. Bands go to great lengths to craft an image with rags-to-riches tales, histories of musical family dynasties, or recounts of daring escapes from a bad home life. Sometimes artists just overemphasize a single life detail.

“The concept of fabricating some unique struggle always frustrated me. Of course I had struggles — I was a closeted gay teenager in an abusive relationship in the Bible Belt with a Southern Baptist family that was falling apart at the seams. I’m still processing what the song is for me; I do know that it’s a response to the music industry and to the church. It’s also a message that where we come from, what we experience, what we battle and survive — all these things make us who we are and show in our art. You don’t have to fit in by making your story someone else’s. You don’t have to grow up on the ranch or in the woods to sing Americana music. You don’t even have to wear boots. Just be who you are and let your story tell itself.

“The lyrics ‘This is my story, this is my song’ are echoed from the old hymn, ‘Blessed Assurance.’ On the record, Fats Kaplin plays a violin rendition of the chorus of the hymn as the introduction to ‘My Story.’ The sweet sound was beautiful, but in post-production felt a little too reverent. Dylan Alldredge and I threw a tape warble effect on it, which gave it this unclean ’90s vibe to complement the grit and anger in the song and to date it with where I was, and what I was going through in those years. It has a wonderfully chilling effect.” — Ever More Nest


Photo Credit: Greg Miles

LISTEN: Clint Roberts, “Jeremiah”

Artist: Clint Roberts
Hometown: Brevard, North Carolina
Song: “Jeremiah”
Album: Holler Choir
Release Date: May 13, 2022
Label: Carry On Music

In Their Words: “‘Jeremiah’ approaches sentiments that I’ve held for many years, but I haven’t known quite how to approach them in a song until recently. Growing up in a rural mountain town, few people stuck out. Those who did, did so courageously, often because they had no other choice. Hearing others use slurs was commonplace, unfortunately. The nails that stuck out got hammered down. Though I’ve never been subject to any discrimination, I have friends who have been many times. ‘Jeremiah’ is a memory of my feelings about it. It is a critique of the Bible Belt, but also American culture at large. I’m proud of where I’m from, but we have some things to work on. I try to stay optimistic.

“This song is a commentary on growing up in the South and witnessing discrimination against young gay [LGBTQ+] individuals. I myself do not have a gay brother, but have dear friends who identify as so. As a heterosexual male, I can’t and won’t pretend to know what many people go through that are discriminated against. I can only speak to the pain I feel watching it happen in front of me. ‘Jeremiah’ was my way of expressing solidarity through the lens of my Appalachian upbringing.” — Clint Roberts


Photo Credit: Kendall Bailey Photography

WATCH: Palmyra, “Park Bench”

Artist: Palmyra (Sasha Landon, (they/them), Teddy Chipouras (he/him), Mānoa Bell (he/him))
Hometown: Floyd, Virginia
Song: “Park Bench”
Album: Shenandoah
Release Date: March 25, 2022

In Their Words: “‘Park Bench’ paints a very vulnerable picture of the person I see in the mirror every morning, and it can be overwhelming to think about its public release. My biggest comfort for this release is the fact that the three of us are doing it together. Often when we sit down to write and arrange together, we run into the same issue; when one person brings a song to the group, what can Palmyra do to better the tune without losing the intentions that the song grew from? I’m really proud of how we went about it with ‘Park Bench,’ and I am so grateful to Teddy and Mānoa for breathing more life into the tune and for always having my back. Even though ‘Park Bench’ started as something that I wrote to give voice to my own experience and anxieties, we collectively were able to turn it into a celebration of marginalized voices and queer identity by putting it out into the world together.” — Sasha Landon, Palmyra


Photo Credit: Sadie Hartzog

BGS Top 50 Moments: Shout & Shine

It was late 2016 when the world first learned of North Carolina’s HB2 – the “bathroom bill” – prohibiting trans folk from using bathrooms and locker rooms that aligned with their gender identity. The International Bluegrass Music Association was having its conference in Raleigh that autumn, and we at BGS were feeling restless about wanting to do something at the conference to create a safe space for marginalized artists who were already not feeling welcome at the annual event. And thus the first ever Shout & Shine was conceived and held at the Pour House in Raleigh on September 27, 2016.

In the years since its inception, Shout & Shine has taken on multiple forms – from a one-night showcase, to a day-long stage, to an ongoing editorial column and video series on the BGS homepage, Shout & Shine continues to create a dedicated space for diverse and underrepresented talent in the roots music world.

“Shout & Shine began with a simple mission, to create a space for marginalized and underrepresented folks in bluegrass to be celebrated for who they are, unencumbered by their identities,” explained Shout & Shine co-creator Justin Hiltner. “Since 2016, it’s grown into so much more but above all else, it continues to be exactly what we created it to be first and foremost: a community. Our Shout & Shine community demonstrates that these roots music genres are for everyone; they always have been and they will be in the future, too.”

Past lineups have included Amythyst Kiah, Nic Gareiss, Kaia Kater, Alice Gerrard, Jackie Venson, Lakota John, The Ebony Hillbillies, Cathy Fink & Marcy Marxer, Yasmin Williams, and many more.

You can read about the first Shout & Shine event from 2016 here and more Shout & Shine video sessions and features here.

WATCH: Amanda Rheaume, “The Spaces in Between”

Artist: Amanda Rheaume
Hometown: lives in Ottawa, unceded Algonquin Anishinaabeg territory
Song: The Spaces in Between
Release Date: January 20, 2022
Label: Ishkōdé Records

In Their Words: “The spaces in between is where almost everything happens. The growth of all things takes place in the ‘in-between’ and through the journey we take from our centre, to the edge and back again. I hope this song encourages people to question the rigid thinking, or the binaries they may be subscribed to — gender, sexuality, identity. To reference one of the lines in the song, ‘My garden is more than a single flower, learning how to grow alone in the ground.’ We need all types of people, with all types of gifts, to have the fullest and strongest garden, without all of our voices the circle actually suffers. As a queer Métis woman I personally make my home in the spaces in between, the beautiful spaces in between.

“The music video for this song was shot in and around Tkaronto and the shores of Lake Ontario. Director Rich Misener and I wanted to give a sense of searching and looking for something for someone. That feeling of your surroundings caving in on you and the journey of self into a more open, expansive and self accepting place.” — Amanda Rheaume


Photo Credit: Jen Squires

The Show on the Road – Brandy Clark

This week, we bring you a conversation with one of Nashville’s supreme songwriters: Brandy Clark.

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Born in a logging town in Washington state, Clark started playing guitar at age 9 before setting it aside and getting a scholarship for basketball. Music kept tugging her back in though. Like a modern Patsy Cline, she has a knack for nailing a heartbreaker. Reba recorded two of her songs in (“Cry,” “The Day She Got Divorced”) and Brandy soon found a valuable mentor in Marty Stuart, who helped her make her Opry debut in 2012.

While you may just be learning about Clark’s stellar solo work, which mixes old school and witty new school country with some of the tightest pop hooks in the game, Clark has been co-writing for some of country and rock’s leading ladies for years, like Miranda Lambert, Kacey Musgraves, LeAnn Rimes and Sheryl Crow to name a few. But it was with her lyrically masterful, lushly-orchestrated 2020 LP Your Life Is A Record that doors started opening in a whole new way. 2021 saw an extended deluxe version drop.

In this unearthed conversation (blame a faulty hard-drive), we go through her darkest breakup songs, hear about her tastiest kiss-offs and discuss her unique perspective of Nashville’s Music Row Boys’ Club.

Don’t miss the end of the taping when Brandy discusses teaming up with her songwriting hero Randy Newman on the cheeky tune “Bigger Boat” and she plays an exclusive acoustic performance.


This episode of The Show On The Road is brought to you by WYLD Gallery: an Austin, Texas-based art gallery that exclusively features works by Native American artists. Find unique gifts for your loved ones this holiday season and support Indigenous artists at the same time. Pieces at all price points are available at wyld.gallery.

Grace Pettis, With Support From the Indigo Girls, Reconnects With “Landon”

Grace Pettis tells a dramatic story of regret in “Landon,” as she carefully weaves together her account of what happened in small-town Alabama when her childhood best friend came out of the closet. Instead of finding the loving support of a close friend, the song’s subject found judgment and scorn.

“Landon needed somebody to be on his side. He trusted me. And I let him down,” she says. “Instead of listening and responding with love and acceptance, I replied with a lot of canned answers taken from my Christian belief system, what the church taught me to say. Years of soul-searching, prayer, and information gathering led me to a very different place. I knew that I had wronged Landon in a way that I could only explain in a song.”

Years down the line and now based in Austin, Texas, Grace Pettis wrote her heart’s sorrow and contrition into a song that can only suggest the emotional complexity of her experience. But this story doesn’t end here. Thankfully, the subject of the song heard her words and the two have mended their fences. “We are in a great place now,” she says. “He’s forgiven me, and we get to be close in a new way, now that we’ve made peace with ourselves. We’re both living a true story now.”

In July, Pettis released a new version of the song (after the original acoustic video premiered on BGS), this time backed by the Indigo Girls. In addition, the new music video features the very friend who inspired the song. Take a look at “Landon.”


Photo credit: Nicola Gell

LISTEN: Dillbilly, “Countries”

Artist: Dillbilly
Hometown: Evansville, Indiana
Song: “Countries”
Album: Chaparral
Release Date: July 9, 2021
Label: Waxsimile Productions

In Their Words: “For a big part of my life, I grew up feeling like country and bluegrass were genres that I could never be a part of even though the music has always felt like home. So often queer, trans, and non-binary artists are set apart and left out even though we are everywhere, in every genre, and in every town. When I wrote ‘Countries’ it felt so good to lean into those roots with the help of Todd Sickafoose, Daren Hahn, James Deprato, Alisa Rose, and Andy Waegel. For me this tune was born from an experience of feeling harmed, heartbroken, and gaslit, but in the studio it took on so much joy thanks to the help of an incredible country singer Liz Lewis as well as Briget Boyle and the one and only Vicki Randle on backing vocals. I love that about this song, and about country and bluegrass in general. Its ability to hold complexity and feelings that are sometimes at odds. This song is that. Produced by Julie Wolf with Nino Moschella and released by Waxsimile Production, ‘Countries’ is an ode to where I come from.” — Dillbilly


Photo credit: Rachel Joy Barehl

LISTEN: Joe Troop, “Purdy Little Rainbows”

Artist: Joe Troop
Hometown: Winston-Salem, North Carolina
Song: “Purdy Little Rainbows”
Album: Borrowed Time
Release Date: August 20, 2021
Label: Free Dirt Records

In Their Words: “What we now know as ‘Pride’ began at Stonewall in an uprising of New York City LGBTQ people of color demanding the acknowledgement of their human dignity. But in today’s woke rat race for clout, middle-class theatrics flood the echo chamber, and marginalization has become a precious commodity for the privileged. The movement has been convoluted by capitalism to the benefit of corporations and the middle-class opportunist.

“Bourgeois antics coupled with McPride have glorified the contemporary queer, urban experience. Where does this leave rural queers — the groundhogs? In rural areas, LGBTQ people are still duking it out in the arena of backcountry politics, where anonymity is impossible and pride isn’t an asset that gets you ahead in life.

“Pork chop queens and pawn shop trash are down in the trenches. They don’t get to live in a wealthy hyperwoke bubble. They aren’t lauded for virtue signaling on social media. And many times they have to hide their identities just to exist. I wrote this song for them, all the little groundhogs, valiantly waddling far and wide amongst the trappers. For all the purdy little rainbows shining in dark places.” — Joe Troop


Photo credit: Kendall Atwater