aka dege Legg (pRONOUNCED "DEEJ LEG")


If you make the trek down to Louisiana, you won’t leave the same way you came…


When you listen to Brother Dege, you practically breathe in the backwoods air, fall under the spell of the swamp, and get to know the ghosts of the Delta. Materializing at a crossroads between soul-rousing rock ‘n’ roll, eloquent folk, graveyard Americana, and psychedelic bliss, the GRAMMY® Award-nominated troubadour absorbs the spirit of his home state in threads of droning absinthe-spiked slide guitar, naked vocals, and blood-soaked poetry. Turning up the amps in the dead of night, an undercurrent of bluesy distortion tosses and turns in tectonic motion beneath bold hooks as his love for seventies and eighties staples funnels into a twisted 21st century take on Southern rock. He emerges out of this smoke with a vision without comparison, bringing grit and gusto in equal measure to Alt-Americana. After quietly generating tens of millions of streams, earning widespread acclaim, and carving out a corner in pop culture history with a co-sign by none other than Quentin Tarantino, Dege pulls everyone into this world on his sixth full-length album, Aurora.


“I’m revealing more of myself than I have on previous records,” he notes. “Musically, I’m trying to mimic the sounds of the Deep South with this multi-dimensional weirdness. I can slow it down to a point where it’s like ‘Robert Johnson on Thorazine’. Essentially, this is my version of where I’m from. It’s the dark side of the Deep South.”


Born in Louisiana to “Air Force parents, he moved around quite a bit as a kid. The family lived in Northern California and Georgia before Dege and his mom eventually settled back in Louisiana. He initially fell in love with seventies and eighties rock ‘n’ roll, listening to the likes of AC/DC. He taught himself how to play guitar, penning tunes of his own from the moment he picked up the instrument. 


At the same time, the region always made its presence known in his music.


“As much as I rebelled against Southern music, it inevitably seeps through me when I sit down with an acoustic guitar,” he laughs. “It’s slow, moody, and meditative.”


During 2004, he introduced this sound via Trailerville. On its heels, 2010’s Folk Songs of the American Longhair yielded a procession of anthems, including “Hard Row to Hoe,” “The Girl Who Wept Stones,” “Dead & Gone,” and “Too Old To Die Young.” Tarantino personally selected “Too Old To Die Young” to play over a key sequence in Django Unchained and grace the tracklisting of the Django Unchained Original Motion Picture Soundtrack—which garnered a GRAMMY® nod in the category of “Best Compilation Soundtrack for Visual Media.Dege parlayed this momentum into a string of fan favorite albums, namely How To Kill A Horse [2013], Scorched Earth Policy [2015], and Farmer’s Almanac [2018]. PopMatters hailed the latter as “music that becomes as integral to your deep self as your blood and skin,and Glide Magazine christened him “one of the best-kept secrets in Louisiana. Uncut Magazine put it best, “Brother Dege is one of the best-kept secrets in the Deep South.”


Following the dissolution of a five-year relationship, he carefully assembled Aurora.


“It definitely deals with love, psychosis, and the dysfunctions that get repeated within these relationships and patterns of myself,” he goes on. “I thought of it as an ouroboros—which is a snake that eats its own tail. In a relationship, you are swallowing your own tail and tail of your partner, because you blame them for some of it too. The Aurora resembles the spectral light of falling in love.”

As such, he split the album into two halves preceded by eponymous instrumentals, namely “Aurora” and “Ouroboros.” The A-side begins with “Aurora,” while the B-Side commences on “Ouroboros.” Following the former, the first single “Where The Black Flowers Grow” blooms from the throes of lust at its most raw. Slide guitar snakes around a tribal-style rhythm anchored by a thick bassline, “trashcan drums, and a plea to “Make my black flowers grow.


“When you fall in love with somebody, you have a particular physical chemistry,” he reveals. “You’re comfortable trying sexual things. So, it’s a love song about getting over your own insecurities about your body. A black flower is a darker beautiful thing”


On the other end of the spectrum, “Turn of the Screw” hinges on an upbeat stomp and a swaggering rock ‘n’ roll refrain. Robust guitar adds a distinct and dynamic kick to the track with a rollicking fire.


“It’s a slide-riffing, barn-burning song,” he says. “You’re taking a chance with your partner, jumping off a cliff figuratively together, and seeing where it goes. Even if you’ve made many mistakes in the past, you turn the screw down and reach the point of no return.”

Elsewhere, his gravelly delivery scrapes across piano and acoustic guitar on the pensive “The Devil You Know.” 

“This is a breakup song,” he elaborates. “I’m talking about acknowledging things I’ve done in the relationship and coming to terms with them. I’m confessing to my partner and trying to rekindle things. I don’t want to be alone, and ‘Devil You Know’ is me sitting alone with myself.”

The smoky groove and swaggering guitar of “Loser’s Blues” gives way to the 12-minute epic “The Longing.” Piano underscores the verses as he wanders, “So lost in the longing. He does a moratorium on this lost romance and looks ahead in its wake during an ambient meditative outro.


“It’s probably the deepest one,” he notes. “Metaphorically, it’s the end of a relationship. You’re coming to terms with things being over. You know it’s not going to be saved. You’re longing for what you once had. Your brain plays on your heart. You remember something really good maybe even better than it was.”

In the end, you might not be the same after you hear Brother Dege.


“As dark as it gets, I’d like for people to know there’s some kind of twisted light at the end of the tunnel that’s worth reaching together,” he leaves off. “I don’t know if it’s an illusion, but even hope embedded in an illusion is better than no illusion or no hope at all.”



Born and raised in southern Louisiana, Dege Legg is of Cajun-French and Irish ancestry.  

To support his creative obsessions, Dege has worked many odd jobs over the years, including cabdriver, machinist, case worker in a homeless shelter, delivery driver, dishwasher, tire mechanic, cook, journalist, etc. 

Obsessions: art, creativity in any form, camping, beaches, nature, Dobros, Pablo Picasso, Don Quixote, Vincent van Gogh, Henry Miller, Gabriel Garcia Marquez, Bukowski, Faulkner, Black Sabbath, Blind Willie Johnson, Sonic Youth, UFOs, junkyards, zero point energy, kindness, barbarism, crop circles, sitars, psychic telepathy, quantum metaphysics, rodeo clowns, living a good life, service to others.  

In 1994, Dege Legg founded the underground, southern psych-rock band Santeria, which toured and gigged in relative obscurity for 10 years, pounding out a strange variety of swampedelic, "psyouthern rock" that relied less on chest-thumping and beer guzzling, and more on quasi-mystical attempts at hayseed transcendence. 

In 1997, Dege Legg recorded and released Bastard's Blues, a hand-dubbed cassette release. The album in many ways has served as the blueprint for all his following solo releases. 

In 1999, Dege Legg self-released a crudely recorded, 4-track concept album on CDR titled Love Letters & Suicide Notes. 

In 2002, Santeria released the landmark, underappreciated album House of the Dying Sun. Five months later, after a west coast tour, the band went on indefinite hiatus amidst a string of bad luck and hardships that were sometimes seriously, sometimes comically, attributed to a voodoo curse believed placed on the band. 

In 2003, Dege Legg lived in cheap, low-rent motels for nine months and wrote about the experience before eventually moving into a trailer park. 

From 2003-2004, Dege Legg worked as a nightshift cabdriver for a City Cab Co. in Lafayette, LA. His experiences on the job were documented for blog and book form (Cablog: Diary of a Cabdriver). 

In 2004, Dege Legg improvised and recorded an album (Trailerville) of "guitar scapes" in the trailer park where he lived. BUY Trailerville.  

In late 2004, Dege Legg briefly moved to Los Angeles to record demos on a spec development deal. He abandoned the project and moved back to Louisiana four months later after realizing he was a willing participant in "creating something unique that he could not understand or making the worst music ever made." 

From 2004-2005, Dege Legg joined swamp rocker CC Adcock's touring band as second guitarist in The Lafayette Marquis. 

In 2005, Dege Legg founded the 6-piece ensemble Black Bayou Construkt and released the album Kingdoms of Folly in 2009. 

In 2006, tiring of forgettable gigs in half-empty clubs, Dege Legg began playing short live and improvised sets in non-traditional venues and filming the proceedings on cheap digital cameras. The venues included open fields, abandoned houses, backwoods alcoves, caves, cheap motels, dumpsters, swamps, parking towers, public bathrooms, sheds, and ponds. The results were posted to the Brother Dege YouTube Channel where they are still viewable.  

In 2007, Dege Legg lived in a homeless camp and wrote a feature cover story on the experience titled Slipping through the Cracks for the Independent Weekly in Lafayette, LA, which won a Louisiana Press Award. 

In 2009, Dege Legg began recording songs for the album Folk Songs of the American Longhair in nontraditional spaces (elevator shafts, open fields, abandoned houses) before eventually recording the tracks at home and in a shed behind his rent house in Lafayette, Louisiana. 

In 2010, Dege Legg released the slide guitar album Folk Songs of the American Longhair under the name Brother Dege. 

In 2010, just a month after it's official release, Dege Legg was contacted by the producers of The Deadliest Catch and asked to use the song "Hard Row to Hoe" (from Folk Songs of the American Longhair) as theme song of their spin-off "After the Catch."  

From 2011-2013, Dege Legg worked full-time in a men's homeless shelter in Lafayette, LA.  

In 2011, Dege Legg completed his first solo tour of Holland and Belgium as Brother Dege. 

From 2011-2012, Dege recorded the songs for How to Kill a Horse (the follow album to American Longhair) in an empty warehouse in Lafayette, LA. 

In December 2012, Brother Dege's song "Too Old to Die Young" was hand-picked by Quentin Tarantino for inclusion in the movie and official soundtrack to Django Unchained where the song appeared alongside such artists as James Brown, Tupac Shakur, and Ennio Morricone. 

Dege Legg is the author three books: The Battle Hymn of the Hillbilly Zatan Boys, Into the Great Unknown (Santeria Tour Journals), and Generating Hope: Stories of the Beausoleil Louisiana Solar Home. 

In 2013, Brother Dege, along with other artists, was nominated for a Grammy for the Django Unchained soundtrack.  

Brother Dege's music has been featured in Quentin Tarantino's Django Unchained as well on the Discovery Channel and the National Geographic Channel and in these movies: Half the Road, The Afflicted. 

In 2013, Brother Dege began touring with his band The Brethren as well as doing solo shows. Brother Dege & the Brethren now tour the USA and Europe annually.  

In 2014, Dege Legg co-wrote and edited a book with architect and Professor of Architecture, Geoff Gjertson on sustainable architecture titled Generating Hope: Stories of the Beausoleil Louisiana Solar Home.   

In 2015, Brother Dege wrote and recorded the album Scorched Earth Policy. It was recorded in a warehouse and an office rental space.  

From 2015-16, Brother Dege & the Brethren toured Europe four times.  

In 2017 & 2018, Brother Dege wrote, recorded, and released the concept album Farmer’s Almanac on his own label Psyouthern Media.

On March 15, 2024, Brother Dege releases his latest album AURORA on Prophecy Productions & Records