NEW YORK (news agencies) — It is not easy to be an outsider in country music, but Orville Peck has made a career out of it.
On his third album, “Stampede,” his nonconformist spirit has led to collaborations with everyone from Willie Nelson and Elton John to Mickey Guyton and Kylie Minogue.
When the South African musician released his debut album, “Pony,” in 2019, little was known about him. A country crooner with a deep baritone more in line with outlaws like Merle Haggard and Waylon Jennings than anything on contemporary radio, Peck hid his identity (Peck is a pseudonym) and his face behind a mask.
A wide strip of leather completely obscured his forehead down to the nose bridge; the rest of his visage was concealed underneath a large Stetson and a foot of cascading fringe. As his public prolife rose and he continued to release new music, Peck started slowing stripping back the mask. Now, as he prepares to release “Stampede,” a duets album, only the hat and eye mask remain.
“I think it’s sort of in parallel with my confidence,” he says. “When I first started — my first album — I really needed the mask.”
It takes some self-assurance to release a duets album. Each song is a brand-new collaboration, a previously unexplored creative experiment, and a balancing act. “Every single song is me, 50%, and then 50% the other artist,” he says. “It’s a long tradition in country to do duets and have sort of duos. You know, I think of Johnny Cash and June Carter, Gram Parsons and Emmylou Harris,” he says, suggesting that this kind of album would arrive later in his career.
“But then when Willie asked me to do (the song) ‘Cowboys,’ it was like, ‘Oh, is this maybe the right moment?’ And so, then I asked Elton, and then I asked Kylie, and then, you know, so on, so forth.”
A dream get that didn’t work out? Dolly Parton.
In the case of Nelson, Peck is referring to the 1981 queer country cult classic, Ned Sublette’s “Cowboys Are Frequently, Secretly Fond of Each Other,” covered by Nelson in 2006 and an infrequent staple of Peck’s live show. When Nelson and Peck played a festival together a few years ago, the country legend invited Peck onto his tour bus for a cup of coffee and suggested they re-do the song as a duet. He told Peck, “It’s more important now than ever,” Peck recalls.
“I think the fact that he wanted to do this particular song with me, and the fact that his reasoning behind it was in support, and motivated in the encouragement of LGBTQ people, I mean, it’s like the most validating thing ever.” Later, they’d film a music video for the duet at Nelson’s Luck Ranch in Texas.
Across “Stampede,” too, are non-traditionalist duets and covers. There’s “Papa Was a Rodeo,” a bluegrass cover of the Magnetic Fields’ indie rock song, now with Molly Tuttle and Golden Highway. There’s an ode to Sin City, “Death Valley High,” with Beck, who told the news agencies the song was inspired by “Elvis in Vegas is, you know, Vegas by way of Memphis. It’s a totally different thing from Sinatra Vegas.”
There’s also “Midnight Ride,” a disco number with Kylie Minogue and Diplo, which the trio debuted live during a Pride event in Los Angeles in June.
“I’ve learned over the years how important visibility is,” Peck says, “Bringing something that’s really joyful and inclusive.”
A kind of outsiderness is where Peck feels home. “Country radio — country with a capital C — it’s sort of its own thing,” he says. “You got to do a lot of kissing babies and shaking hands to kind of play the Nashville game. And it’s just something I’ve never been interested in doing.
“I just want to have my music and my art speak for itself, and I don’t feel like I need to go kiss asses in Nashville to be accepted and be validated,” he continued.
“I know how country I am. I get to work with incredible legends like Willie Nelson, Tanya Tucker, all these people that I grew up idolizing, that love me. So, you know, that’s enough validation for me. And if I’m not on top 40 radio on country music, you know, that’s fine with me.”
Writer Krysta Fauria contributed to this report from Los Angeles.
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