OPINION: Orville Peck’s “Bronco-back” Mountain
By Nick Peta
Orville Peck is a queer cowboy, the personification of Johnny Cash on poppers responsible for the “yassification” of country music.
On an aesthetic level, Peck blends an overall masculine presentation with bedazzled vests and a fringed mask. Since his first album “Pony,” his aesthetic has been a driving force for his brand. The masked cowboy exterior allows him to exist in a bandit persona, delivering a mysterious charm amplifying his luscious and warm classically trained voice.
Peck played in a punk band prior to taking on the Orville Peck identity, proving his vocals are nothing short of versatile virtuosity. His audience is not limited to particular demographics of genre or personal identity, making him one of the most accessible artists of this generation.
It’s no secret modern-day commercial country music exhibits a plethora of “cheugy” and uncomfortable gimmicks, often embracing a stereotypical archetype of what it means to be “country.” Peck has brought the authentic narrative back to country music, blending the contemporary queer experience with the emotional integrity of golden age country singers like Johnny Cash and Glen Campbell. This dedication to narrative driven writing earned him the attention of Shania Twain, who sang on his sophomore album “Show Pony.”
“Bronco” is Peck’s first full-length album released through his recent deal with Columbia records. Compared to “Pony,” the production took a more macabre approach, setting the stage for Peck’s vocal prowess. This album is inherently more “country” than his previous album, however, I don’t believe it is because he is chasing any sort of CMA Award (Country Music Association). Peck’s eclectic beyond any capability of a modern country singer, delivering a queer narrative to a genre that has not explicitly welcomed the queer community.
“Bronco” was released in chapter installments, offering listeners a greater understanding of the album’s storyline. Dividing the album in this way gives it the feel of a Shakespearean play delivering a clear rise and fall of our tragic hero, Orville Peck. Chapter One of the 15 track album features four songs: “Daytona Sand,” “C’mon Baby, Cry,” “Outta Time,” and “Any Turn.” “Daytona Sand” sets the album off to a galloping pace, as he sings the spelling “M-I-S-S-I-S-S-I-P-P-I.” Already much brighter in tone than any track off of “Pony,” he is leaving behind the murky energy of his freshman album, replacing it with theatrical vocals.
“C’mon Baby Cry” exhibits a Paul Anka style of crooning, aching with heartbreak, yet serves romantic tension between a confident queer individual and a potential lover terrified of vulnerability. “I can tell you’re sad, boy, just like me,” he sings. The music video for this track is genius in its color palette, depicting the characters of Peck and his potential lover in devastating shades of red and green. Directed by Austin Peters, it also features cameos from comedian Margaret Cho and RuPaul’s Drag Race contestant, Kornbread.
“The Curse of the Blackened Eye” and “Outta Time,” deliver a clear pipeline from Elvis Presley to Peck, with glistening melodies that bloom within the deep reverb of the vocal lines. However, Peck is more gruesome, putting Elvis’ vocals to shame. “Bronco” is a statement piece on the queer experience giving the early intentions of country music its rightful resurgence. Eat your heart out Chris Stapleton.