Orville Peck – ‘Stampede’ album review: your new go-to for special moments
THE SKINNY: When we think of country music, there are stereotypical images of brooding white men donning denim, suede, and cowboy boots, drinking whisky, singing about their sweetheart or their country, again and again and again that come to mind. However, over the past few years, those images have steadily been ushered out as modern artists, along with more modern mindsets, are dominating the genre, making it more accessible worldwide, more user-friendly for marginalised groups and generally just a more exciting movement. At the front of this is Orville Peck, and on his new album, Stampede, he shows us why.
It’s hard to pinpoint when the resurgence of country music began, but when Peck released Pony in 2019, he changed the musical landscape by showing that you could take an established genre and introduce new ideas into it. In doing so, he made a name for himself as one of the most exciting musicians on the scene at the time, and he has only continued on that trajectory for the past five years.
Stampede is one of the most moving, fun and versatile albums of 2024. Laced with classic country sounds throughout, Peck flourishes as he explores his emotional range, writing an exciting mix that touches upon love, loss, lust and freedom. Every song has an accompaniment by a talented vocalist or musician who complement Peck’s sound perfectly. Not only that, but the album includes well-known covers that seem carefully picked out, not just great songs but representations of the influences that seem to have gone into making this wide-ranging record.
It feels like a special moment to be so moved by an LP that encourages you to dance and enjoy yourself and stands as the pinnacle of one of the most exciting movements in modern music. Peck seems to be a long-time provider in these moments by now, and it’s a pleasure watching his career go from strength to strength with each release. Listen to this album even if you think it’d not for you; it’s worth it.
For fans of: Drinking outside at night like you’re in a Bob Dylan painting, revisiting classics and the silken tones of Elvis.
A concluding comment from Tim McCoy: “Maybe this town is big enough for the both of us.”
Stampede track by track:
Release date: July 31st | Producers: Beau Bedford, Ryan Raines, Orville Peck, Christopher Stracey, Sammy Witte, Dim Star, Beck Hansen | Label: Warren Records
‘Cowboys Are Frequently Secretly Fond Of Each Other’: Straight from the word go, the intent of this album and what listeners can expect are laid out beautifully thanks to this cover. With some of the most on-the-nose lyrics on the record, Peck sings about the mentality of people in small towns who turn their noses up at the gender-nonconforming and members of the LGBTQ+ community. It’s laid out in a way that is heartfelt but fun to sway to, as his country roots are on display, raw and authentic. [4.5/5]
‘The Hurtin’ Kind’: A more funky number with a running bassline that doesn’t waste time diving headfirst into a driving chorus. Harmonies are layered and hypnotic, the melody is infectious, and the track is a masterclass in everything that makes Orville Peck exceptional. [4/5]
‘Saturday Night’s Alright (For Fighting)’: An absolute classic that doesn’t need reworking, so it isn’t reworked. The song is played in its entirety in the way that it was originally written. Granted, Peck’s voice provides a bit more grit, and there is a guitar solo, but this is just a great song played by great musicians. What more do you need? [4.5/5]
‘Back At Your Door’: Peck and Debbi Dawson bounce off one another beautifully on this song. It’s an incredibly smooth number, drenched in narration as images of “Springsteen static on the airwaves” are sung about in a track of longing. [4/5]
‘Chemical Sunset’: A much more brooding and aggressive number. The drums are a statement of intent, with hints of distortion injected into the bass, matched by Peck’s lower and more aggressive tone. Allison Russell provides levity but also sings dynamically, which is another example of how good this album’s harmonies and team-ups are. The drunken jazz feel to the track is the icing on the cake. [4/5]
‘Death Valley High’: Taking a step away from the general tone of this album, ‘Death Valley High’ is a funkier track, singing of gambling and invoking images of being lost in a neon jungle. While this track is also fantastic, it feels more like a song you could hear elsewhere and doesn’t have an original ring as much as some of the other tracks on the album. The feature by Beck is a welcome treat who raps on the funky beat. Overall, it’s an exciting and fun song, but by no means one of the best on display. [3.5/5]
‘How Far Will We Take It?’: Peck teams up with Noah Cyrus on this ballad. The song is a sweet calling with hints of pop. It is one of the shortest tracks on the record, but it feels like it packs a real punch. It’s a lovely way to break up the record before entering into a more Western-inspired song. [4/5]
‘Miénteme’: A real treat. A blend of traditional Spanish music and country-western, a song that, in terms of lyricism, tone, rhythm and melody, has it all and is only missing a sunset in the background. It feels like one of the more imaginative moments on the album and is an absolute stand-out. [5/5]
‘Papa Was a Rodeo’: A beautiful, tranquil rendition of the original. Peck and Molly Tuttle go back and forth in the most splendid way, creating a new version of a country ballad that everyone should listen to. [4/5]
‘Midnight Ride’: If you’re just reading features, you wouldn’t see Kylie Minogue and Diplo as artists who have a place on a record like this, but ‘Midnight Ride’ works incredibly well. The song is atmospheric, packed with energy and easy to dance to. Minogue’s voice is a seductive whisper, a signature sound that greets us like distant relatives and burrows into this track easily. [4/5]
‘Ever You’re Gone’: This seductive and serene song borders on bond-like. Peck and Teddy Swims are a vocal match made in heaven. While their range is relatively similar, the track’s call-and-response structure means they continue pushing each other and acting as the perfect vocal companions. [4.5]
‘You’re An Asshole, I Can’t Stand You (and I Want a Divorce)’: A beat entrenched in classic country nostalgia, providing the perfect backdrop for this narrative-driven tale about heartbreak. It’s certainly a song to go to amid a bad breakup, as a tale of losing something is laced with humour and wit. [5/5]
‘Where Are We Now?’: An upbeat and atmospheric number. Plucking guitar accompanies steady vocals of Peck and Mickey Guyton. The beat is easy to ride and isn’t something you’re keen to let go of when the song ends. A lot of fun, passionate, and a gorgeous listen. [4/5]
‘Conquer The Heart’: Big drum hits in the distance bring in this song as we approach the end of the album. While the hits sound far out, their impact on the song is undeniable, as they provide a time signature for vocals, guitar and bass that follow shortly behind. As the track builds, it becomes one of the most epic on the album, the kind of track an overambitious friend would try on karaoke after a few too many. It’s a beautiful song, filled to the brim with passion. [4.5/5]
‘Rhinestone Cowboy’: What is there to say about this song that hasn’t already been said? A classic done justice as Peck sings beautifully over it, and people are ushered out of one of the best albums of 2024 with a familiar classic. [5/5]
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