Orville Peck, Bronco | Album Review 💿

Orville Peck proves he’s just what country music needs on his utterly sublime sophomore album, Bronco. 

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hen it comes to country, I, personally am more of a casual listener.  I like country music but in moderation, picking and choosing artists.  Perhaps surprising to some, it’s the musicians hearkening back to the glory days – outlaw, retro, and vintage – that often speak most to me.  The minute that I first heard the music of 🎙 Orville Peck, I knew he would ascend to the top of my listening rotation. I mean, a gay country musician from South Africa based in Canada that wears a fringed masked concealing his identity? Count me in! More than that, however, Peck is incredibly gifted – the voice of an angel, and certainly, the musician that country music has been longing for.  On his sophomore album, 💿 Bronco, Peck proves he’s made for country music.

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“Daytona Sand” 

“So, rack ‘em up, big blonde / I think I could’ve been your man / We watch the surfers as they whip on the strand / Ah, Daytona sand.”  Orville Peck commences Bronco superbly with 🤩 🎵 “Daytona Sand.”  According to Peck, the song was written about a cowboy born in Mississippi who grew up in Daytona, Florida.  Worth noting, Peck spells out Mississippi at the end of the record. He sings with a beautiful tone that is colorful, nuanced, and incredibly masculine.  For better or worse, when it comes to male country musicians, there’s an expectation to deliver a heaping dose of masculinity.  Peck doesn’t disappoint in the masculinity department, wowing with those ultra-expressive pipes, but he also doesn’t shy away from his sexuality, hooking up with an undisputed, long-haired stud in the music video 🎶📼. Yee-haw, cowboy!

“It’s true / True, it follows me round / Nothing to lose / Wouldn’t miss it anyhow.” 🎵 “The Curse of the Blackened Eye” has a tough act to follow – “Daytona Sand” is incredibly good! That said, there’s no problem as “The Curse” continues the excellence established by the opener.  Again, Peck’s voice is heaven-sent.  His rich lower register is the crème de la crème, but his upper, quasi-yodeled vocals – a croon if you will – are impressive too. Among his most elite vocals occurs in the bridge where the man soars.  Furthermore, the songwriting is well-rounded.

🤩 🎵 “Outta Time” keeps Bronco intriguing.  Initially, Peck takes his time, never rushing as he unveils the chorus lyrics.  Once the first verse arrives, “Outta Time” adds a steady groove, carried by rhythmic acoustic guitar, drums, and even a dash of ‘comping’ electric piano.  The production serves as the perfect backdrop to Peck’s rich vocals. His best vocals arrive at the end, when he unleashes the power of his upper register. Furthermore, the harmonic progression shines, particularly the use of the major II chord, which instead of resolving to the dominant, resolves to the tonic (this is for you, you music theory nerds, of course).

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“Lafayette” 

“Hurry over and cry, Lafayette / I knew that I’d lose you the moment we met.” Orville Peck continues to shine on 🤩 🎵 “Lafayette”.  Peck remains masculine in sound but once again seems to unleash his sexuality here (part of his charm). Essentially, Lafayette has totally messed up Peck.  “I can’t turn a corner or walk down the street / Without seeing your face come along,” he sings at the conclusion of the second verse. Of course, the centerpiece is the chorus, which is incredibly catchy and high-energy. “Last born son, yeah, loaded gun,” Peck sings, adding, “You know I recall somebody sayin’, ‘There ain’t no cowboys yet / But they ain’t met me and they ain’t met you, Lafayette.”

🤩 🎵 “C’mon Baby, Cry” has a strong case as the best song record from Bronco.  Like other songs from Bronco, Peck does a bang-up job resurrecting and preserving the country music of old on this single.  These retro country stylings are incredibly refreshing in a time where country-pop is dominant and so many bigger-named musicians seem well out of new ideas.  Once again, the biggest selling point is that soaring voice, which is truly mesmerizing to listen to.  Peck fearlessly combats toxic masculinity thematically.  “But you’ve been smiling for so long / A thousand teardrops can’t be wrong, no,” he sings at the end of the first verse, adding in the chorus, “I don’t want you to be afraid / Let me see you cry /… Call me up anytime / C’mon, baby, cry.” It’s amazing how Peck’s music is idiomatic of classic country, yet seamlessly incorporates queer elements.  I love the fact that he doesn’t mask sexuality but rather embraces it. “C’mon Baby, Cry” is utterly sublime.

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“Iris Rose”

How does one follow up a juggernaut like 🎵 “C’mon Baby, Cry”? It’s hard, but Peck comes through consistently on 🎵 “Iris Rose.” Musically, it’s as gorgeous as any and everything else on Bronco.  I love the warm tone of the guitars, as well as the use of banjo and most surprisingly, trumpet.  In the country of old, however, horns were much more common.  The trumpeting of 🎙 Emmanuel Echem certainly enhances.  Speaking of distinct instrumentation, on another stunner, 🎵 “Kalahari Down,” the listener is treated to an expressive harmonica solo. It sets the tone for continued excellence from Peck.  Besides harmonica, the use of strings accentuates, elevating the dynamics and overall expressiveness.  Notably, the ever-mysterious Peck informs us that “Kalahari Down” is about missing home, specifically, his native country, South Africa. “I’m so proud to be South African,” he tells Apple Music, “I go back there all the time.” 

“Bronco running wild, yeah baby, I’m on fire / I’m just my daddy’s child running something on the wire.” Woo! 🤩 🎵 “Bronco” arrives as the energetic, fast title track of Peck’s sophomore album.  Well, the tempo kicks in after a slower introduction.  Once the tempo is established, those drums pummel, the guitars roar, and most of all, Orville is true to self, delivering a confident, turned-up performance.  You won’t be able to get the tuneful chorus out of your head.  You’ll totally feel like a cowboy… or a bronco running wild listening!

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“Trample Out the Days” 

🎵 “Trample Out the Days” slackens the pace, initially, fittingly contrasting the rollicking 🎵 “Bronco.”  After a slower intro, “Trample Out the Days” settles into a moderately slow tempo, with a solid groove.  Eventually, the record grows more dynamic.  I love the recurring guitar riff (a melodic ostinato) – a thoughtful musical cue.  Once more, Peck impresses with the skill of his instrument, particularly that effortless-sounding sustained note, sigh.  On the moderately-paced 🤩 🎵 “Blush,” Peck admittedly pays ode to 🎙 The Beatles’ brand of country, or what he likens to the British equivalent. Notably, he refers to London, mentioning River Thames (verse two).  Of course, there’s an element of romance, commencing in the first verse as Peck asserts, “Can’t picture your face, but I know it was pretty / Yeah, you drew me that night / I saw love in your eyes, but I didn’t know how to begin.” Ooh, la-la.  Of course, those lyrics make you ask more questions than provide answers, particularly with the chorus that follows (“Saddle up and ride on down / Maybe when the tide comes out / Come and find me”).  Of course, the wheels really turn in the bridge, where Peck suggests he doesn’t return to London much, yet remembers a special night with him, stating, “I don’t miss you that much but, baby, watching you blush / Some of us, we just gotta ride.” Intriguing! Also, intriguing is how ‘loose’ Peck sounds by the conclusion.

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“Hexie Mountains”

Interestingly, at various points in Bronco, location plays a sizable role.  With “Blush,” Orville Peck mentions London.  On 🤩 🎵 “Hexie Mountains,” he refers to Hexie Mountains in southern California.  From the onset, there’s a charm about “Hexie Mountains.”  It sounds slightly different from the other records from Bronco.  I like the fact that Peck’s voice is the focal point – there’s not too much production that dares overshadows this honest number.  Also, it’s cool how references 🏆 Grammy nominee and friend, 🎙 Noah Cyrus (“Noah called to write a song”).  Speaking of celebrities, Elvis’ granddaughter, 🎙 Riley Keough, stars alongside Peck in the captivating music video.

“Don’t wanna wash you away / I swear there’s good things that are coming your way / And I can’t be the one left here dragging you down / Let me drown…” 🎵 “Let Me Drown” gives Orville Peck that big moment, showing off the sheer resplendence of his instrument.  A song that tackles depression, his pain is our utmost listening pleasure.  We don’t want sadness for the gifted fringe masked musician, but that voice, those strings, and that songwriting – marvelous!

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“Any Turn”

🤩 🎵 “Any Turn” keeps things short, sweet, and quick. Here, Orville Peck doubles down on the retro, vintage country sensibilities.  There’s ample rhythm, a quick lyrical delivery, and no possible way you can avoid taping your foot.  The moment you hear this one, you’re sold!  The lyrics are compelling whether it’s the likes of “‘Bout a guy with another guy waiting for me ’round the back / Heavy time, no go, next show” or “No smokes, bad jokes, ten bucks, good jokes / George, Gram, Paris, Buddy, Bobby, Bobbie, Beau.” Good stuff!

🎵 “City of Gold” provides contrast, slackening the pace compared to 🎵 “Any Turn”.  The main source of accompaniment is rhythm guitar, with a hint of pedal steel (or steel guitar) in all its glory. The chorus is more dynamic than the verses.  Also, worth noting, that the chorus is memorable and tuneful, like the majority of Bronco.  I love the repetition of the final line: “City of gold, I’ve been told, you’re mine.”  Bronco concludes with 🎵 “All I Can Say,” which restores full instrumentation after the more intimate, stripped “City of Gold.” 🎙 Bria Salmena guests, singing the first verse, pre-chorus, and chorus.  As awesome as Orville is, it’s great to hear a different voice here.  Peck enters the mix in the second verse, singing alongside Bria in the pre-chorus and chorus. Their vocal chemistry is nothing short of epic. It continues on the bridge where they sing separately once more before joining forces once more.  Ultimately, it’s a superb way to cap off a superb album.

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Final Thoughts 💭 

It’s no secret folks – Bronco is a stellar album. Orville Peck has released one of the true gems of 2022.  There’s not a bad song to be found; even the non-gems are gems! You can tell that Peck is a trained singer; he does so many things technically well.  Ultimately, Bronco brings more to the table than many other country albums.  Honestly, it’s just built different, and that’s what makes it satisfactory.

🤩 Gems 💎: “Daytona Sand,” “Outta Time,” “Lafayette,” “C’mon Baby, Cry,” “Bronco,” “Blush,” “Hexie Mountains”  

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🎙 Orville Peck • 💿 Bronco • 🏷 Columbia • 🗓 2022

[📷: Columbia]

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