Since debuting with his critically acclaimed 2019 album Pony, Orville Peck has established himself as a distinct outlaw figure: queer, mysterious and magnetic. His music pairs steel guitars and galloping rhythms with deeply intimate tales of heartbreak, wanderlust and identity, creating a refreshing, modern lens to classic country storytelling.
According to a press release regarding his latest album, Mule (an aside: I love the consistency of horses and equine themes in naming his albums: Pony, Show Pony, Bronco, Stampede, Appaloosa and now Mule), Orville confronts his struggles with addiction, charting a path toward sobriety and the road to recovery “with unflinching honesty, humor, and compassion.” The announcement was also preceded by the release of a haunting, a cappella hymn titled Prologue (Eulogy Of A Man Turned Mule) that opens the album featuring guest vocalists Emmylou Harris, Noah Cyrus and Allison Russell - their harmonies are otherworldly!
When looking to get tickets for his Man Turned Mule show at Brooklyn Paramount, I decided to opt for the VIP package which included: early entry into the venue, watching a portion of his soundcheck, a live Q&A session with Orville, an exclusive VIP merch item chosen by Orville (a Man Turned Mule pennant), a commemorative VIP laminate and first access to tour merch before doors opened. And it was totally worth it! At the soundcheck he performed two songs that were not on the evening’s setlist, Queen Of The Rodeo and Papa Was A Rodeo and interacted with the small group, talking about everything from getting a birthday text from Kylie Minogue to working with his heroes.
The neon-drenched vintage dive bar set was really elaborate, complete with smoky ambiance, rustic props, and honky-tonk swagger along with many Easter eggs and direct references to key eras of Orville’s catalog. Staying true to the immersive, dive-bar aesthetic of the tour, the band members matched the vintage western styling of the stage. They served as a classic roadhouse backing outfit, enhancing Orville’s storytelling and delivering fantastic performances.
From the moment the pre-recorded prologue (Eulogy of a Man Turned Mule) faded and he walked out to open with Big Ol' House, Orville appeared remarkably at ease, magnetic and completely in his element. He took to the stage wearing a red jacket and matching trucker hat - and a signature mask of course. He soon got rid of the jacket to reveal a white tank top (and tattooed biceps and forearms). He later donned an embellished cowboy hat and returned to the stage with a fringed mask for the encore.
His rich baritone filled the room with effortless warmth, striking power and crystal-clear precision. Leaning heavily into material from Mule alongside beloved fan favorites, the setlist felt like a masterclass in modern country storytelling. He bridged past and present seamlessly, moving from foot-stomping tracks like Already Gone and C'mon Baby, Cry to haunting, poignant ballads like The Breeze, The Grass, The Mourning Dove And Me. It was a truly special experience, from the intimate soundcheck through to the final note of the encore.
The complete setlist was as follows:
Prologue (Eulogy of a Man Turned Mule)
Big Ol’ House
Already Gone
Roses Are Falling
C’mon Baby, Cry
The Curse of the Blackened Eye
Old River
Rehab Blues
Lafayette
Too Little, Too Late
Legends Never Die (with Emily Rose)
Drive Me, Crazy
Hope to Die
Kansas (Remembers Me Now)
The Breeze, the Grass, the Mourning Dove and Me
Any Turn
Hexie Mountains / My Side of the Mountain
It Ain't Me, Babe (Bob Dylan cover) (with Ziwe Fumudoh)
Outta Time
Cowboys Are Frequently, Secretly Fond of Each Other
Kids
The Fall
Bronco
Encore:
Dead of Night
Turn to Hate
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