Orville Peck is clearly a believer in the concept of subverting from within. While he was far from the first artist to point to the queer subtext in the iconography of country music and cowboy culture, he is one of the few who believed he could do that and appeal to mainstream pop and country music fans at the same time, and the critical and commercial success of 2019's
Pony and 2022's
Bronco confirmed
Peck could pull it off. One of the most treasured traditions in mainstream music is the Duets Album, in which the star surrounds themself with a bunch of other artists of note and creates something that's not just another collection of tunes but an Event with a capital E.
Peck dipped his toe into this strategy on the 2020 EP
Show Pony, where he dueted with
Shania Twain on "Legends Never Die," and he goes all in with 2024's
Stampede, featuring 15 tracks where he shares the vocal mic with an impressive array of guest stars, running the gamut from
Willie Nelson and
Elton John to
Kylie Minogue and
Beck. Unexpectedly, it's the most seasoned veterans who deliver the shakiest performances on
Stampede. At the age of 91, it's no surprise
Willie Nelson's voice doesn't sound like it once did, and his take on "Cowboys Are Frequently Secretly Fond of Each Other" gets by on its charm and the resonance of
Nelson's guitar, but the blend of
Peck's deep, smooth vocals and
Nelson's high, jittery quaver doesn't quite connect. Similarly,
Elton John sounds game on a new version of "Saturday Night's Alright (For Fighting)," but his delivery is faulty and he seems to have trouble keeping up with
Peck's energy level. Some of the finest moments on
Stampede are among the most unexpected:
Peck and
Molly Tuttle work wonders with a bluegrass-styled cover of
Stephin Merritt's "Papa Was a Rodeo"; the big, melodramatic sound of "Midnight Ride" works great for
Peck with its atmospheric dance pulse, and
Kylie Minogue's breathy asides are first class; and the bold, sensuous funk of "Death Valley High" with
Beck is a perfect vehicle for
Peck the showman.
Stampede finds
Peck usually reaching for the grand gesture (the closing cover of "Rhinestone Cowboy" with
Fancy Hagood,
T.J. Osborne, and
Waylon Payne more than qualifies), and he certainly has the voice and the charisma for it, but the intimacy of tracks like "How Far Will We Take It" (with
Noah Cyrus), "Back at Your Door" (with
Debbi Dawson), and "Where Are We Now" (with
Mickey Guyton) reveal that
Peck interacts best with his partners when the scale is more human and personal.
Stampede is the work of a singer who is a star and obviously excited by the possibilities it offers him as a performer, but the best moments suggest he should offer a little more space for
Orville Peck the Artist, who deserves his share of the spotlight. ~ Mark Deming