The first voices you’ll hear on Orville Peck’s fourth studio album are Emmylou Harris, Noah Cyrus and Allison Russell, harmonizing bluegrass on “Prologue (Eulogy Of A Man Turned Mule)” as they introduce Mule, a sweeping, chronological epic that narrativizes 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 iconic musicians from different generations and genres within country music, “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 Bowery 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 partner that culminated in their breakup (and a promise to return to each other later that fall for a check-in, opening the for what each hoped would 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 sitting alone inside my house feeling like a prisoner, trapped inside something 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 this prison for myself to act out and be depressed in.”

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