featuring the very best of americana, alt.country and roots music
September 22, 2026
Scott Foley, purveyor of dust
On the jacket for his third original full-length album, Orville Peck perches atop a stool, stripped of all but his t-shirt, briefs, and his trademark fringed mask and white cowboy hat. Mule is certainly Peck's most thematically cohesive record to date, maybe his most personally revealing. Like the cover photo, the new songs suggest a vulnerability, addressing the artist's own journey from addiction to sobriety.
Mule opens with a Greek chorus of Noah Cyrus, Allison Russell and Emmylou Harris setting the stage a'la O Brother with a short acapella Eulogy for the man turned mule. Peck has indicated that the songs are arranged along a timeline, from addiction to the dissolution of his relationship, through rehab to a tentative sobriety. On "Big Ol' House", he sways on the brink of indecision: Echoed notes of songs I wrote / No one left to play 'em for.
Since his 2019 debut, Orville Peck's artistry has grown, still rooted in classic country while gathering confidence in reaching further afield. He has called this my bluegrass album, incorporating both the fiddle of Ketch Secor and Molly Tuttle's banjo throughout. Nothing on Mule digs too deeply into the genre beyond the use of this instrumentation. "Rehab Blues" confirms that the road to recovery is no fun, loping along with Dillon Casey's barroom piano: I hate it here / I don't care / And I wanna die. Peck's theatrical camp exhibits in his walk between drama and self-deprecation: Catch me on the evening news / Dumb fag dies from the rehab blues.
"Cowboy Heart" exhibits Peck's ease with the country genre, backed with steel guitar as he wanders the LA streets in the company of the ghost of Jim Morrison. "Run Out Of Road" alternates an interesting percussive guitar line with a typically dramatic chorus: The price of being wild and free / Can leave you more alone. Always a generationally strong singer, Peck sounds terrific here, his trademark elastic yodel betraying more vulnerability, especially on the record's moving title cut.
Songs on Mule are often unusually brief, but are peppered with some of the most pop-flavored country of his career in "Too Little Too Late" and "Already Gone". Both are deeply melodic, with the bright and tuneful arrangements often juxtaposed with more overcast lyrics: Lonesome heart by design / Broken head in decline / Telling anyone who'll listen it'll all be fine. "Mule" acknowledges some resolution to the album's story arc, even if it seems to be qualified: I went away to find / What happened to my mind / I think I found it partly / I don't know. The title cut almost finds Orville Peck letting his mask down, though he is quick to attribute the stage prop as part of the camp and drag that have always been part of the country genre since the days of Johnny Cash and Dolly Parton. It's not change, he concludes, I think it's more like coming home.
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