Orville Peck's 'Bronco' album cements his place in pop culture — and country music
By Amy Campbell, GQ Magazine Australia,
For artists of colour, queer artists and anyone who isn’t your typical Jack Daniels-drinking, pickup truck-driving crooner from the Deep South, finding mainstream fame in country music has always been an uphill battle. And summiting that hill isn’t even the end. Because earning fans is one thing. Being accepted and embraced by the vastly white, vastly straight country music institution is another struggle altogether.
Orville Peck discovered this in 2019, with the release of his debut album Pony. Here was a country artist who was born in South Africa, but lives in Canada, singing about love affairs with cowboys, not cowgirls. His elaborate disguises and cinematic visuals saw new audiences flock to the genre, hungry for more of the masked singer’s storytelling and deep, affectionate tenor.
Even Harry Styles was a fan—in November 2021, he asked Peck to play his ‘Harryween’ concert at Madison Square Garden in New York.
But the old guard was harder to convince.
“There were times when people straight-up told me this wouldn’t exist in the country world… they didn’t know where to place it, they didn’t know what to call it,” the artist said in a 2020 interview with GQ. When we catch up today, he says he’s still battling some of the same prejudices. “It’s funny, because I feel like I'm writing about the same stuff that straight country artists are writing about. The only real difference is I’m writing about a different gender."
“I think in 2022, the people who consider that an anomaly… they are the anomaly,” he adds with a chuckle.
Now, on the eve of Pony’s third birthday, Peck returns with his sophomore album Bronco. Where Pony felt charming in its stripped-back candour, and follow-up EP Show Pony, which landed in 2020, popped with a more glittery sound (there’s a duet with Shania Twain), Bronco’s expansive soundscape and heavy-hearted lyrics radiate with authenticity, in a way that suggests Peck has come into his own.
“I wrote it with so much heart. It kind of wrote itself in a way, because of what I was going through,” offers the artist. “I was so busy with touring and so preoccupied with being a touring musician.
“Then Covid hit. Work stopped and it forced me to reckon with the fact that I was really, really unhappy as a person, I was running on empty, my personal life was hell, but I'd been distracting myself and escaping into my work.”
‘I sat around last year / wishing so many times I would die’, he sings on ‘The Curse of the Blackened Eye’.
Peck was also anxious about the inevitability of making a second album, and whether it would live up to the popularity of his first. It has. And his decision to double down on the nostalgic Western swing rather than rely on pop inflections—one critic likened Peck's vocals on Bronco to ‘a gothic Elvis Presley’—proves that Peck oughta be taken seriously.
“I think sometimes the best way to overcome barriers is to not even acknowledge them,” says the musician, when we ask whether he feels more accepted by the establishment. “I always approached my place in country music as if I already had a seat at the table. I sort of just sat down at the table, and people are finally starting to accept that I sit at it."
“Rather than wanting people to accept me, I realised that people would rather accept that I was already accepted, if that makes sense… there have been moments in my life career where I didn't believe in myself as much as I should've. And I'm glad that now, finally, I feel like I'm at a place where I don't question it for a second.”
At Coachella this week, as Peck belted out the melodies of Bronco in front of a crowd that chanted back every lyric, that sentiment rang delightfully, daringly true.
