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UID:92b74b5b-0588-4578-855e-0b2803e8cb11@findlocal.community
DTSTAMP:20261026T224552Z
DTSTART;TZID=America/Chicago:20261104T200000
DTEND;TZID=America/Chicago:20261104T220000
SUMMARY:Orville Peck
DESCRIPTION:Orville Peck Bio The first voices you’ll hear on Orville Peck
 ’s fourth studio album are Emmylou Harris\, Noah Cyrus and Allison Russe
 ll\, harmonizing bluegrass on “Prologue (Eulogy Of A Man Turned Mule)” a
 s they introduce Mule\, a sweeping\, chronological epic that narrativize
 s the year 2023—or\, as Orville knows it\, the year he “hit rock bottom 
 before finally getting sober.” The image is stark and cinematic: three i
 conic musicians from different generations and genres within country mus
 ic\, “standing over a metaphorical coffin with me inside of it\, singing
  about how much of a waste of my life was\, as if I had died in the Bowe
 ry Hotel the night I overdosed in 2023.” Flash back to three years ago: 
 it’s January\, and Orville’s just returned home from a trip with his par
 tner that culminated in their breakup (and a promise to return to each o
 ther later that fall for a check-in\, opening the for what each hoped wo
 uld be a substantial period of growth and time apart). Single and alone 
 in Los Angeles\, as we find him on “Big ‘Ol House\,” Orville gives in to
  his destructive impulses: drinking\, partying\, drugging. “I’d be sitti
 ng alone inside my house feeling like a prisoner\, trapped inside someth
 ing I’d earned and something I never thought I would have growing up\,” 
 he says. “Yet I was feeling like I could never escape what had become th
 is prison for myself to act out and be depressed in.” Where Pony\, Bronc
 o\, and Stampede wove together bits and pieces of Orville’s life and lea
 rnings\, Mule takes a linear (though not always straight) path through t
 he hardest year of the artist’s life. Its title (also the album’s closin
 g track) gets its name from a simple place of inspiration and comparison
 : “To me\, the image of a mule is somehow misunderstood\,” Orville says.
  “A mule is the offspring of a horse and a donkey bred specifically for 
 work. Mules cannot reproduce. They are trapped between two worlds\, mayb
 e always trying to figure out which one they belong to. They are known a
 llegorically for being hard-working\, stubborn\, a burden\, resilient. A
 nd it’s also a nickname for those who traffic drugs. Mules work in their
  own time and in their own way: built by choice and yet never to be recr
 eated. Singular and alone. I think that it is hard to be a mule… but I’m
  also glad that I am one.” After “Big ‘Ol House\,” we’re thrust into “Al
 ready Gone\,” which\, on its surface\, appears joyful and carefree—but i
 ts lyrics about being thrown into ‘the slammer” stand in stark oppositio
 n to its hand-clapping melodies. “At the time\, I didn’t believe I had a
  problem\, but I begrudgingly agreed to go to rehab at the behest of my 
 team\,” he remembers. “I was in such a chaotic\, egotistical state of mi
 nd that I didn’t take it seriously\, which is why ‘Already Gone’ is one 
 of the most upbeat\, fun songs on the album\, but it’s actually filled w
 ith a lot of darkness.” Orville calls “Rehab Blues” his “hokum” song\, r
 eferencing the country western sonic trope that historically combined co
 medy\, wit\, and poignant lyrics. “When I was in rehab in California\, I
  wished that I could die or leave or escape—I just did not want to be th
 ere\,” he says. The song’s first verse immediately fulfills its hokum am
 bition: “They’re always knocking at the door You get a bed but you use t
 he floor They watch you take the pills No thrills No TV after 9\,” he cr
 oons before imagining evening news stories about his untimely demise. “I
  wanted to give a comedic spin given where my head was at. The bridge es
 pecially is quite funny\, where my fantasies of escaping present themsel
 ves as an almost circus-like eruption of friends and ridiculous instrume
 nts causing a scene in my mind.” With rehab done\, Orville’s journey was
  only just beginning. “I didn’t leave sober\,” he says. “I left thinking
  that now at least I had control of my drinking and that I wasn’t an alc
 oholic\, that I was smarter than that\, that I was better than other peo
 ple that had gone to rehab—or at least that I was different. So I went s
 traight back to partying and being insane.” That story gets told in all 
 its messy glory (and embarrassment) on “Ring The Bell\,” the chorus of w
 hich finds Orville singing about “another reckless man with a masterplan
  to get himself kicked out of hell” and how “if you get blacked out you 
 don’t have to pout there’s another round that’s ready to go.” (“Full pea
 k chaos era\,” Orville jokes.) “Blue Skies” were certainly ahead\, thoug
 h not right away\, and not in the way he sings about on the song of the 
 same name. Slow\, drawn-out percussion and dramatic strings underscore O
 rville’s lush harmonizing and howling as he croons about (as he describe
 s it) “descending back into darkness\, even darker than ever before I we
 nt to rehab” before a discordant crash-out and crescendo. Rock bottom co
 mes one night in downtown New York the summer of 2023 in the form of “Th
 e Fall\,” chronicling the moment Orville knew—based on how his choices h
 ad begun to impact those closest to him—that a change needed to come\, a
 nd quickly. “The lyrics are mostly about yearning for missing everything
  that I had lost in my life at that point: my relationship\, my career\,
  and my sanity\,” he says. “But this song is also about finding the clar
 ity that I needed to make a change\, clarity that also involved healing 
 some of the resentment I felt towards my ex and myself\; this song is th
 e turning point in the album that changes for the better.” Mule’s B-side
  picks up with “Cowboy Heart\,” a jangling\, sprawling long hard look in
  the mirror with its title lyrics echoed back to him by his mother. “It 
 starts with me walking down Hollywood Boulevard with seemingly everythin
 g I ever wanted in my life: a big career\, fans that love to buy my musi
 c\, money for the first time in my life\, a home\, a car\, and so much m
 ore\,” he says. “But then I realize I’ve never been more lost. At the ti
 me\, I finally decided to get sober. I started to go to meetings\, and I
  got myself a sponsor. The clarity that sobriety gave me not only opened
  up a lot of work that I had to do in order to get my relationship and m
 y career back\, but surprisingly to me\, opened up a lot about what I’ve
  been struggling with in terms of being Orville Peck.” “Cowboy Heart” al
 so cracks open Mule’s other throughline: the duality of being Orville an
 d the man behind the mask at the same time. “The Breeze\, The Grass\, Th
 e Mourning Dove And Me\,” an “impatient bluegrass shuffle\,” continues h
 is trajectory\, capturing a moment that year when Orville felt “like the
  best version of myself: healthier\, happier and more grounded than I’d 
 ever been in my entire life.” Here\, the bluegrass chorus emerges from t
 he shadows\, leading the charge as he uses memories of childhood in Sout
 h Africa (“despite moving around\, the one thing that has always felt li
 ke home are the sounds\, the smells\, and the sights of being out in the
  bush”) to help convince his ex that things can be both unfixable and un
 deniable in equal measure. “Run Out of Road” serves as a warning of sort
 s to “fellow avoidant personalities\,” Orville says\, “that their chance
 s with somebody might run thin and that the road that they continue to r
 un down\, may one day run out.” Its chorus plainly lays out its truth: “
 Don’t come running back to me when you run out of road expecting I am st
 ill behind the door that you slammed closed.” “At this point\, “I’m sobe
 r and healthy\, I’ve met back up with my partner\, and we are on our way
  to getting back together—but I found myself with my newfound confidence
  wondering if I even wanted to be back in a relationship.” A partner son
 g follows in “Too Little\, Too Late\,” an “empowering indie sleaze bange
 r” that traces the reality of a partner returning to the arms of another
  who may have moved on by the time a reunion was even remotely on the ta
 ble. “It encapsulates what it feels like to be finally secure with who y
 ou are\,” he says. On the 11 o’clock number\, “War Of The Worlds\,” a vo
 cal stacked Orville—clearheaded\, sober\, and calm—tackles the duality o
 f man versus artist once more. “There’s a strange thing that happens whe
 n you become successful or famous or whatever you wanna call it\,” he sa
 ys. “There’s so much energy coming at you from people who don’t actually
  know the real you but have assumptions about who you are\, who they wan
 t you to be\, how they want you to appear\, and what they want you to do
 . I didn’t know for a long time that I was too sensitive and poorly equi
 pped to navigate that world and that it wore down a lot of my self-estee
 m and my peace. I reckon with that solitary tug-of-war in this song.” Or
 ville lands the plane on “Mule\,” a gentle mantra that circles back to t
 he album’s opening\, more simplistic bluegrass melodies. “It’s an observ
 ation that things are fragile and that any of us can lose the things we 
 love most in life if we’re not careful or not looking out for ourselves\
 ,” he says. “In a lot of ways it’s also a thank you to those who were wi
 th me through this period\, and also an empathetic hand toward myself to
  remember how far I’ve come and how much work it took and will always ta
 ke. It is also a reminder to people that even when someone looks like th
 ey have it all together\, you never know what they might be going throug
 h.” In its 13-song journey\, Mule further cements Orville Peck’s singula
 r lock on songwriting\, storytelling\, and song-making in this industry.
  Its depths reward multiple revisitations\; its melodies and harmonies w
 ill continue to surprise and amaze with each repeated listen. Mule might
  find Orville\, at times\, at his lowest\, but it finds him not only pic
 king up the pieces\, but finding a better Orville along the way.\n\nTick
 ets: https://www.ticketmaster.com/orville-peck-man-turned-mule-tour-madi
 son-wisconsin-11-04-2026/event/070064EF956428E9\n\nhttps://findlocal.com
 munity/event/92b74b5b-0588-4578-855e-0b2803e8cb11
LOCATION:The Sylvee\, 25 S. Livingston Street\, Madison\, WI 53703
URL:https://findlocal.community/event/92b74b5b-0588-4578-855e-0b2803e8cb1
 1
STATUS:CONFIRMED
SEQUENCE:0
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