Album Review: Orville Peck, Stampede

With his high-camp take on cowboy culture, and a commanding baritone that channels the spirits of Roy Orbison and Elvis, Orville Peck has made a career out of bucking – like any good outlaw – the country music establishment, in a way that’s always straddled the line between irony and earnestness.

But recent releases have seen the enigmatic artist move closer to the mainstream sound that his 2019 debut, Pony, served as such a compelling alternative to. Now that gradual drift has led him to Stampede – a 15-track project that pays tribute to the genre’s long-established duet tradition, while also giving Orville the chance to trade verses with heroes and friends.

From icons like Willie Nelson, Elton John and Kylie Minogue, to the new breed of country/folk trailblazers, such as Margo Price, Noah Cyrus, Molly Tuttle and Allison Russell, the talent on display is undeniable. However, Orville struggles at times to elevate Stampede beyond a one-off novelty project, with his approach often caught awkwardly between an homage to classic country, and the over-produced sound of the modern era.

There’s other influences in the mix too of course, from the disco-pop of ‘Midnight Ride’ to dashes of musical-theatre flair. In fact, it’s when he and his collaborators lean into the playful drama that Stampede works best – as an album that should never really take itself too seriously.

With or without his trademark mask, Orville’s artistic identity is at a crossroads. What track he takes from here will be crucial.

6.5/10