Orville Peck on rehab, ‘simple dog energy’ and his album ‘Mule’

Orville Peck brought his moving and carefully crafted new album, “Mule,” to the Hollywood Bowl on Friday night. One of the year’s best country LPs so far, “Mule” charts the masked singer-songwriter’s sobriety journey after he hit a low point in 2023; the concert mixed songs from the album with Peck’s oldies, an appearance by his friend Noah Cyrus and a handful of covers, including a tender rendition of the late Dolly Parton’s “I Will Always Love You.” Before the show, we sat down with Peck in his dressing room for a chat.

Mikael Wood: Your new album is out today, and tonight you’re playing the Hollywood Bowl. Which of your childhood nemeses do you wish could see you now?
I’ve got two parts of my personality. There’s one part where I’m like, none of them — I don’t want to give it any air. Then there’s another part of me that has a 3,000-person Rolodex in my head because I’m petty sometimes.

Rebecca Castillo: Let’s name names.
Let’s do it — get my phone.

Wood: The video for your song “Already Gone” has you dancing in a rehab. Was that how you envisioned the rehab experience?
I take a little artistic license. I wouldn’t say I was dancing down the hallways, but I was climbing up the walls for sure. I never anticipated I would be someone that would go to rehab. Even when I was there, I was sort of under this false egotistical pretense that I didn’t really belong there — that everyone else was really sick and I just had a bit of a problem. So it took a lot of breaking down these defenses and addict ways of thinking that told me I was unique or special. I didn’t know they were gonna knock at your door every 20 minutes. I didn’t know know that you weren’t allowed to make phone calls. I was pretty shocked by a lot of it — I went there in a haze.

Castillo: Were there any artists whose music helped you get through the experience?
I don’t remember wanting to have anything to do with music, to be honest with you. They allowed me to have my guitar — I remember a friend of mine dropped off a guitar for me, and it sat in the corner for most of the time. I think I was so worn down and tired — I think I felt pretty resentful about music back then. Noah Cyrus, actually, is one of three people that was allowed to come visit me in the slammer, and she played me some songs that she was working on. I just remember staring out the window a lot.

Wood: You’ve brought a new level of style and, dare I say, sexiness to country music. Who’s a country music sex object for you?
I always thought Tim McGraw was very sexy — especially in his later years, where he started to chisel up like crazy. I think young Alan Jackson was very sexy.

Wood: Great mustache.
You know, Noah’s father was quite sexy back in the day — Billy Ray. Who do I think is sexy in country music these days? I think mostly the women are sexy now. I don’t know — I find talent sexy now. Some of the guys are on paper hot, but if they’re not good artists, I’m like, who cares?

Castillo: In an interview with Ziwe, you talk about “simple dog energy.”
Yes.

Wood: With straight men.
And? I mean, come on.

Castillo: Can you gauge Mikael? Is this simple dog energy?
Yeah, I could probably even tell you the breed. I think you’re giving sort of an Irish setter, maybe. I don’t know if that’s supposed to be offensive or not. You give one of those sort of regal dogs from Great Britain — those people in kilts and they blow a tiny whistle that no one can hear and the dog runs for 300 miles.

Castillo: That’s gonna go to his head.
That’s what I’m getting from you. But yes, straight men are simple dogs for sure.

Wood: In your song “Ring the Bell,” you talk about how you don’t want to talk about the rising cost of bread. Is that because you’re so famous now that you don’t actually know what bread costs?
I still buy bread at Ralph’s like everyone else. I think it was more to do with, in “Ring the Bell,” that period of the album — you know the album’s chronological — and I think in that period, I was at parties and people were obviously trying to have more-than-just-slightly-surface conversations with me about whatever. And I was like, “I don’t want to talk about that — let’s drink.” I was just checked out, you know? I’m trying to think of the exact cost of bread.

Wood: You don’t know, bro.
Do you know off the top of your head?

Wood: $3.49.
Look it up right now.

Wood: I actually have no idea.
Bitch. I can’t even remember what I did this morning. Like I’m gonna remember what f—ing bread costs?

Wood: In the title track of your new album, you talk about “Beachwood debutantes playing F—, Marry, Kill.” We’re finishing this with a round of F—, Marry, Kill. Your three people are Dolly Parton, Ed Sheeran and Stella Lefty.
Oh my God, y’all like drama. Well, obviously marry Dolly Parton. [Thinks for a moment.] I’ll take the bullet, honestly.

Orville Peck brought his moving and carefully crafted new album, “Mule,” to the Hollywood Bowl on Friday night. One of the year’s best country LPs so far, “Mule” charts the masked singer-songwriter’s sobriety journey after he hit a low point in 2023; the concert mixed songs from the album with Peck’s oldies, an appearance by his friend Noah Cyrus and a handful of covers, including a tender rendition of the late Dolly Parton’s “I Will Always Love You.” Before the show, we sat down with Peck in his dressing room for a chat.

Mikael Wood: Your new album is out today, and tonight you’re playing the Hollywood Bowl. Which of your childhood nemeses do you wish could see you now?
I’ve got two parts of my personality. There’s one part where I’m like, none of them — I don’t want to give it any air. Then there’s another part of me that has a 3,000-person Rolodex in my head because I’m petty sometimes.

Rebecca Castillo: Let’s name names.
Let’s do it — get my phone.

Wood: The video for your song “Already Gone” has you dancing in a rehab. Was that how you envisioned the rehab experience?
I take a little artistic license. I wouldn’t say I was dancing down the hallways, but I was climbing up the walls for sure. I never anticipated I would be someone that would go to rehab. Even when I was there, I was sort of under this false egotistical pretense that I didn’t really belong there — that everyone else was really sick and I just had a bit of a problem. So it took a lot of breaking down these defenses and addict ways of thinking that told me I was unique or special. I didn’t know they were gonna knock at your door every 20 minutes. I didn’t know know that you weren’t allowed to make phone calls. I was pretty shocked by a lot of it — I went there in a haze.

Castillo: Were there any artists whose music helped you get through the experience?
I don’t remember wanting to have anything to do with music, to be honest with you. They allowed me to have my guitar — I remember a friend of mine dropped off a guitar for me, and it sat in the corner for most of the time. I think I was so worn down and tired — I think I felt pretty resentful about music back then. Noah Cyrus, actually, is one of three people that was allowed to come visit me in the slammer, and she played me some songs that she was working on. I just remember staring out the window a lot.

Wood: You’ve brought a new level of style and, dare I say, sexiness to country music. Who’s a country music sex object for you?
I always thought Tim McGraw was very sexy — especially in his later years, where he started to chisel up like crazy. I think young Alan Jackson was very sexy.

Wood: Great mustache.
You know, Noah’s father was quite sexy back in the day — Billy Ray. Who do I think is sexy in country music these days? I think mostly the women are sexy now. I don’t know — I find talent sexy now. Some of the guys are on paper hot, but if they’re not good artists, I’m like, who cares?

Castillo: In an interview with Ziwe, you talk about “simple dog energy.”
Yes.

Wood: With straight men.
And? I mean, come on.

Castillo: Can you gauge Mikael? Is this simple dog energy?
Yeah, I could probably even tell you the breed. I think you’re giving sort of an Irish setter, maybe. I don’t know if that’s supposed to be offensive or not. You give one of those sort of regal dogs from Great Britain — those people in kilts and they blow a tiny whistle that no one can hear and the dog runs for 300 miles.

Castillo: That’s gonna go to his head.
That’s what I’m getting from you. But yes, straight men are simple dogs for sure.

Wood: In your song “Ring the Bell,” you talk about how you don’t want to talk about the rising cost of bread. Is that because you’re so famous now that you don’t actually know what bread costs?
I still buy bread at Ralph’s like everyone else. I think it was more to do with, in “Ring the Bell,” that period of the album — you know the album’s chronological — and I think in that period, I was at parties and people were obviously trying to have more-than-just-slightly-surface conversations with me about whatever. And I was like, “I don’t want to talk about that — let’s drink.” I was just checked out, you know? I’m trying to think of the exact cost of bread.

Wood: You don’t know, bro.
Do you know off the top of your head?

Wood: $3.49.
Look it up right now.

Wood: I actually have no idea.
Bitch. I can’t even remember what I did this morning. Like I’m gonna remember what f—ing bread costs?

Wood: In the title track of your new album, you talk about “Beachwood debutantes playing F—, Marry, Kill.” We’re finishing this with a round of F—, Marry, Kill. Your three people are Dolly Parton, Ed Sheeran and Stella Lefty.
Oh my God, y’all like drama. Well, obviously marry Dolly Parton. [Thinks for a moment.] I’ll take the bullet, honestly.

Orville Peck brought his moving and carefully crafted new album, “Mule,” to the Hollywood Bowl on Friday night. One of the year’s best country LPs so far, “Mule” charts the masked singer-songwriter’s sobriety journey after he hit a low point in 2023; the concert mixed songs from the album with Peck’s oldies, an appearance by his friend Noah Cyrus and a handful of covers, including a tender rendition of the late Dolly Parton’s “I Will Always Love You.” Before the show, we sat down with Peck in his dressing room for a chat.

Mikael Wood: Your new album is out today, and tonight you’re playing the Hollywood Bowl. Which of your childhood nemeses do you wish could see you now?
I’ve got two parts of my personality. There’s one part where I’m like, none of them — I don’t want to give it any air. Then there’s another part of me that has a 3,000-person Rolodex in my head because I’m petty sometimes.

Rebecca Castillo: Let’s name names.
Let’s do it — get my phone.

Wood: The video for your song “Already Gone” has you dancing in a rehab. Was that how you envisioned the rehab experience?
I take a little artistic license. I wouldn’t say I was dancing down the hallways, but I was climbing up the walls for sure. I never anticipated I would be someone that would go to rehab. Even when I was there, I was sort of under this false egotistical pretense that I didn’t really belong there — that everyone else was really sick and I just had a bit of a problem. So it took a lot of breaking down these defenses and addict ways of thinking that told me I was unique or special. I didn’t know they were gonna knock at your door every 20 minutes. I didn’t know know that you weren’t allowed to make phone calls. I was pretty shocked by a lot of it — I went there in a haze.

Castillo: Were there any artists whose music helped you get through the experience?
I don’t remember wanting to have anything to do with music, to be honest with you. They allowed me to have my guitar — I remember a friend of mine dropped off a guitar for me, and it sat in the corner for most of the time. I think I was so worn down and tired — I think I felt pretty resentful about music back then. Noah Cyrus, actually, is one of three people that was allowed to come visit me in the slammer, and she played me some songs that she was working on. I just remember staring out the window a lot.

Wood: You’ve brought a new level of style and, dare I say, sexiness to country music. Who’s a country music sex object for you?
I always thought Tim McGraw was very sexy — especially in his later years, where he started to chisel up like crazy. I think young Alan Jackson was very sexy.

Wood: Great mustache.
You know, Noah’s father was quite sexy back in the day — Billy Ray. Who do I think is sexy in country music these days? I think mostly the women are sexy now. I don’t know — I find talent sexy now. Some of the guys are on paper hot, but if they’re not good artists, I’m like, who cares?

Castillo: In an interview with Ziwe, you talk about “simple dog energy.”
Yes.

Wood: With straight men.
And? I mean, come on.

Castillo: Can you gauge Mikael? Is this simple dog energy?
Yeah, I could probably even tell you the breed. I think you’re giving sort of an Irish setter, maybe. I don’t know if that’s supposed to be offensive or not. You give one of those sort of regal dogs from Great Britain — those people in kilts and they blow a tiny whistle that no one can hear and the dog runs for 300 miles.

Castillo: That’s gonna go to his head.
That’s what I’m getting from you. But yes, straight men are simple dogs for sure.

Wood: In your song “Ring the Bell,” you talk about how you don’t want to talk about the rising cost of bread. Is that because you’re so famous now that you don’t actually know what bread costs?
I still buy bread at Ralph’s like everyone else. I think it was more to do with, in “Ring the Bell,” that period of the album — you know the album’s chronological — and I think in that period, I was at parties and people were obviously trying to have more-than-just-slightly-surface conversations with me about whatever. And I was like, “I don’t want to talk about that — let’s drink.” I was just checked out, you know? I’m trying to think of the exact cost of bread.

Wood: You don’t know, bro.
Do you know off the top of your head?

Wood: $3.49.
Look it up right now.

Wood: I actually have no idea.
Bitch. I can’t even remember what I did this morning. Like I’m gonna remember what f—ing bread costs?

Wood: In the title track of your new album, you talk about “Beachwood debutantes playing F—, Marry, Kill.” We’re finishing this with a round of F—, Marry, Kill. Your three people are Dolly Parton, Ed Sheeran and Stella Lefty.
Oh my God, y’all like drama. Well, obviously marry Dolly Parton. [Thinks for a moment.] I’ll take the bullet, honestly.

Orville Peck brought his moving and carefully crafted new album, “Mule,” to the Hollywood Bowl on Friday night. One of the year’s best country LPs so far, “Mule” charts the masked singer-songwriter’s sobriety journey after he hit a low point in 2023; the concert mixed songs from the album with Peck’s oldies, an appearance by his friend Noah Cyrus and a handful of covers, including a tender rendition of the late Dolly Parton’s “I Will Always Love You.” Before the show, we sat down with Peck in his dressing room for a chat.

Mikael Wood: Your new album is out today, and tonight you’re playing the Hollywood Bowl. Which of your childhood nemeses do you wish could see you now?
I’ve got two parts of my personality. There’s one part where I’m like, none of them — I don’t want to give it any air. Then there’s another part of me that has a 3,000-person Rolodex in my head because I’m petty sometimes.

Rebecca Castillo: Let’s name names.
Let’s do it — get my phone.

Wood: The video for your song “Already Gone” has you dancing in a rehab. Was that how you envisioned the rehab experience?
I take a little artistic license. I wouldn’t say I was dancing down the hallways, but I was climbing up the walls for sure. I never anticipated I would be someone that would go to rehab. Even when I was there, I was sort of under this false egotistical pretense that I didn’t really belong there — that everyone else was really sick and I just had a bit of a problem. So it took a lot of breaking down these defenses and addict ways of thinking that told me I was unique or special. I didn’t know they were gonna knock at your door every 20 minutes. I didn’t know know that you weren’t allowed to make phone calls. I was pretty shocked by a lot of it — I went there in a haze.

Castillo: Were there any artists whose music helped you get through the experience?
I don’t remember wanting to have anything to do with music, to be honest with you. They allowed me to have my guitar — I remember a friend of mine dropped off a guitar for me, and it sat in the corner for most of the time. I think I was so worn down and tired — I think I felt pretty resentful about music back then. Noah Cyrus, actually, is one of three people that was allowed to come visit me in the slammer, and she played me some songs that she was working on. I just remember staring out the window a lot.

Wood: You’ve brought a new level of style and, dare I say, sexiness to country music. Who’s a country music sex object for you?
I always thought Tim McGraw was very sexy — especially in his later years, where he started to chisel up like crazy. I think young Alan Jackson was very sexy.

Wood: Great mustache.
You know, Noah’s father was quite sexy back in the day — Billy Ray. Who do I think is sexy in country music these days? I think mostly the women are sexy now. I don’t know — I find talent sexy now. Some of the guys are on paper hot, but if they’re not good artists, I’m like, who cares?

Castillo: In an interview with Ziwe, you talk about “simple dog energy.”
Yes.

Wood: With straight men.
And? I mean, come on.

Castillo: Can you gauge Mikael? Is this simple dog energy?
Yeah, I could probably even tell you the breed. I think you’re giving sort of an Irish setter, maybe. I don’t know if that’s supposed to be offensive or not. You give one of those sort of regal dogs from Great Britain — those people in kilts and they blow a tiny whistle that no one can hear and the dog runs for 300 miles.

Castillo: That’s gonna go to his head.
That’s what I’m getting from you. But yes, straight men are simple dogs for sure.

Wood: In your song “Ring the Bell,” you talk about how you don’t want to talk about the rising cost of bread. Is that because you’re so famous now that you don’t actually know what bread costs?
I still buy bread at Ralph’s like everyone else. I think it was more to do with, in “Ring the Bell,” that period of the album — you know the album’s chronological — and I think in that period, I was at parties and people were obviously trying to have more-than-just-slightly-surface conversations with me about whatever. And I was like, “I don’t want to talk about that — let’s drink.” I was just checked out, you know? I’m trying to think of the exact cost of bread.

Wood: You don’t know, bro.
Do you know off the top of your head?

Wood: $3.49.
Look it up right now.

Wood: I actually have no idea.
Bitch. I can’t even remember what I did this morning. Like I’m gonna remember what f—ing bread costs?

Wood: In the title track of your new album, you talk about “Beachwood debutantes playing F—, Marry, Kill.” We’re finishing this with a round of F—, Marry, Kill. Your three people are Dolly Parton, Ed Sheeran and Stella Lefty.
Oh my God, y’all like drama. Well, obviously marry Dolly Parton. [Thinks for a moment.] I’ll take the bullet, honestly.

Orville Peck brought his moving and carefully crafted new album, “Mule,” to the Hollywood Bowl on Friday night. One of the year’s best country LPs so far, “Mule” charts the masked singer-songwriter’s sobriety journey after he hit a low point in 2023; the concert mixed songs from the album with Peck’s oldies, an appearance by his friend Noah Cyrus and a handful of covers, including a tender rendition of the late Dolly Parton’s “I Will Always Love You.” Before the show, we sat down with Peck in his dressing room for a chat.

Mikael Wood: Your new album is out today, and tonight you’re playing the Hollywood Bowl. Which of your childhood nemeses do you wish could see you now?
I’ve got two parts of my personality. There’s one part where I’m like, none of them — I don’t want to give it any air. Then there’s another part of me that has a 3,000-person Rolodex in my head because I’m petty sometimes.

Rebecca Castillo: Let’s name names.
Let’s do it — get my phone.

Wood: The video for your song “Already Gone” has you dancing in a rehab. Was that how you envisioned the rehab experience?
I take a little artistic license. I wouldn’t say I was dancing down the hallways, but I was climbing up the walls for sure. I never anticipated I would be someone that would go to rehab. Even when I was there, I was sort of under this false egotistical pretense that I didn’t really belong there — that everyone else was really sick and I just had a bit of a problem. So it took a lot of breaking down these defenses and addict ways of thinking that told me I was unique or special. I didn’t know they were gonna knock at your door every 20 minutes. I didn’t know know that you weren’t allowed to make phone calls. I was pretty shocked by a lot of it — I went there in a haze.

Castillo: Were there any artists whose music helped you get through the experience?
I don’t remember wanting to have anything to do with music, to be honest with you. They allowed me to have my guitar — I remember a friend of mine dropped off a guitar for me, and it sat in the corner for most of the time. I think I was so worn down and tired — I think I felt pretty resentful about music back then. Noah Cyrus, actually, is one of three people that was allowed to come visit me in the slammer, and she played me some songs that she was working on. I just remember staring out the window a lot.

Wood: You’ve brought a new level of style and, dare I say, sexiness to country music. Who’s a country music sex object for you?
I always thought Tim McGraw was very sexy — especially in his later years, where he started to chisel up like crazy. I think young Alan Jackson was very sexy.

Wood: Great mustache.
You know, Noah’s father was quite sexy back in the day — Billy Ray. Who do I think is sexy in country music these days? I think mostly the women are sexy now. I don’t know — I find talent sexy now. Some of the guys are on paper hot, but if they’re not good artists, I’m like, who cares?

Castillo: In an interview with Ziwe, you talk about “simple dog energy.”
Yes.

Wood: With straight men.
And? I mean, come on.

Castillo: Can you gauge Mikael? Is this simple dog energy?
Yeah, I could probably even tell you the breed. I think you’re giving sort of an Irish setter, maybe. I don’t know if that’s supposed to be offensive or not. You give one of those sort of regal dogs from Great Britain — those people in kilts and they blow a tiny whistle that no one can hear and the dog runs for 300 miles.

Castillo: That’s gonna go to his head.
That’s what I’m getting from you. But yes, straight men are simple dogs for sure.

Wood: In your song “Ring the Bell,” you talk about how you don’t want to talk about the rising cost of bread. Is that because you’re so famous now that you don’t actually know what bread costs?
I still buy bread at Ralph’s like everyone else. I think it was more to do with, in “Ring the Bell,” that period of the album — you know the album’s chronological — and I think in that period, I was at parties and people were obviously trying to have more-than-just-slightly-surface conversations with me about whatever. And I was like, “I don’t want to talk about that — let’s drink.” I was just checked out, you know? I’m trying to think of the exact cost of bread.

Wood: You don’t know, bro.
Do you know off the top of your head?

Wood: $3.49.
Look it up right now.

Wood: I actually have no idea.
Bitch. I can’t even remember what I did this morning. Like I’m gonna remember what f—ing bread costs?

Wood: In the title track of your new album, you talk about “Beachwood debutantes playing F—, Marry, Kill.” We’re finishing this with a round of F—, Marry, Kill. Your three people are Dolly Parton, Ed Sheeran and Stella Lefty.
Oh my God, y’all like drama. Well, obviously marry Dolly Parton. [Thinks for a moment.] I’ll take the bullet, honestly.

Orville Peck brought his moving and carefully crafted new album, “Mule,” to the Hollywood Bowl on Friday night. One of the year’s best country LPs so far, “Mule” charts the masked singer-songwriter’s sobriety journey after he hit a low point in 2023; the concert mixed songs from the album with Peck’s oldies, an appearance by his friend Noah Cyrus and a handful of covers, including a tender rendition of the late Dolly Parton’s “I Will Always Love You.” Before the show, we sat down with Peck in his dressing room for a chat.

Mikael Wood: Your new album is out today, and tonight you’re playing the Hollywood Bowl. Which of your childhood nemeses do you wish could see you now?
I’ve got two parts of my personality. There’s one part where I’m like, none of them — I don’t want to give it any air. Then there’s another part of me that has a 3,000-person Rolodex in my head because I’m petty sometimes.

Rebecca Castillo: Let’s name names.
Let’s do it — get my phone.

Wood: The video for your song “Already Gone” has you dancing in a rehab. Was that how you envisioned the rehab experience?
I take a little artistic license. I wouldn’t say I was dancing down the hallways, but I was climbing up the walls for sure. I never anticipated I would be someone that would go to rehab. Even when I was there, I was sort of under this false egotistical pretense that I didn’t really belong there — that everyone else was really sick and I just had a bit of a problem. So it took a lot of breaking down these defenses and addict ways of thinking that told me I was unique or special. I didn’t know they were gonna knock at your door every 20 minutes. I didn’t know know that you weren’t allowed to make phone calls. I was pretty shocked by a lot of it — I went there in a haze.

Castillo: Were there any artists whose music helped you get through the experience?
I don’t remember wanting to have anything to do with music, to be honest with you. They allowed me to have my guitar — I remember a friend of mine dropped off a guitar for me, and it sat in the corner for most of the time. I think I was so worn down and tired — I think I felt pretty resentful about music back then. Noah Cyrus, actually, is one of three people that was allowed to come visit me in the slammer, and she played me some songs that she was working on. I just remember staring out the window a lot.

Wood: You’ve brought a new level of style and, dare I say, sexiness to country music. Who’s a country music sex object for you?
I always thought Tim McGraw was very sexy — especially in his later years, where he started to chisel up like crazy. I think young Alan Jackson was very sexy.

Wood: Great mustache.
You know, Noah’s father was quite sexy back in the day — Billy Ray. Who do I think is sexy in country music these days? I think mostly the women are sexy now. I don’t know — I find talent sexy now. Some of the guys are on paper hot, but if they’re not good artists, I’m like, who cares?

Castillo: In an interview with Ziwe, you talk about “simple dog energy.”
Yes.

Wood: With straight men.
And? I mean, come on.

Castillo: Can you gauge Mikael? Is this simple dog energy?
Yeah, I could probably even tell you the breed. I think you’re giving sort of an Irish setter, maybe. I don’t know if that’s supposed to be offensive or not. You give one of those sort of regal dogs from Great Britain — those people in kilts and they blow a tiny whistle that no one can hear and the dog runs for 300 miles.

Castillo: That’s gonna go to his head.
That’s what I’m getting from you. But yes, straight men are simple dogs for sure.

Wood: In your song “Ring the Bell,” you talk about how you don’t want to talk about the rising cost of bread. Is that because you’re so famous now that you don’t actually know what bread costs?
I still buy bread at Ralph’s like everyone else. I think it was more to do with, in “Ring the Bell,” that period of the album — you know the album’s chronological — and I think in that period, I was at parties and people were obviously trying to have more-than-just-slightly-surface conversations with me about whatever. And I was like, “I don’t want to talk about that — let’s drink.” I was just checked out, you know? I’m trying to think of the exact cost of bread.

Wood: You don’t know, bro.
Do you know off the top of your head?

Wood: $3.49.
Look it up right now.

Wood: I actually have no idea.
Bitch. I can’t even remember what I did this morning. Like I’m gonna remember what f—ing bread costs?

Wood: In the title track of your new album, you talk about “Beachwood debutantes playing F—, Marry, Kill.” We’re finishing this with a round of F—, Marry, Kill. Your three people are Dolly Parton, Ed Sheeran and Stella Lefty.
Oh my God, y’all like drama. Well, obviously marry Dolly Parton. [Thinks for a moment.] I’ll take the bullet, honestly.

Orville Peck brought his moving and carefully crafted new album, “Mule,” to the Hollywood Bowl on Friday night. One of the year’s best country LPs so far, “Mule” charts the masked singer-songwriter’s sobriety journey after he hit a low point in 2023; the concert mixed songs from the album with Peck’s oldies, an appearance by his friend Noah Cyrus and a handful of covers, including a tender rendition of the late Dolly Parton’s “I Will Always Love You.” Before the show, we sat down with Peck in his dressing room for a chat.

Mikael Wood: Your new album is out today, and tonight you’re playing the Hollywood Bowl. Which of your childhood nemeses do you wish could see you now?
I’ve got two parts of my personality. There’s one part where I’m like, none of them — I don’t want to give it any air. Then there’s another part of me that has a 3,000-person Rolodex in my head because I’m petty sometimes.

Rebecca Castillo: Let’s name names.
Let’s do it — get my phone.

Wood: The video for your song “Already Gone” has you dancing in a rehab. Was that how you envisioned the rehab experience?
I take a little artistic license. I wouldn’t say I was dancing down the hallways, but I was climbing up the walls for sure. I never anticipated I would be someone that would go to rehab. Even when I was there, I was sort of under this false egotistical pretense that I didn’t really belong there — that everyone else was really sick and I just had a bit of a problem. So it took a lot of breaking down these defenses and addict ways of thinking that told me I was unique or special. I didn’t know they were gonna knock at your door every 20 minutes. I didn’t know know that you weren’t allowed to make phone calls. I was pretty shocked by a lot of it — I went there in a haze.

Castillo: Were there any artists whose music helped you get through the experience?
I don’t remember wanting to have anything to do with music, to be honest with you. They allowed me to have my guitar — I remember a friend of mine dropped off a guitar for me, and it sat in the corner for most of the time. I think I was so worn down and tired — I think I felt pretty resentful about music back then. Noah Cyrus, actually, is one of three people that was allowed to come visit me in the slammer, and she played me some songs that she was working on. I just remember staring out the window a lot.

Wood: You’ve brought a new level of style and, dare I say, sexiness to country music. Who’s a country music sex object for you?
I always thought Tim McGraw was very sexy — especially in his later years, where he started to chisel up like crazy. I think young Alan Jackson was very sexy.

Wood: Great mustache.
You know, Noah’s father was quite sexy back in the day — Billy Ray. Who do I think is sexy in country music these days? I think mostly the women are sexy now. I don’t know — I find talent sexy now. Some of the guys are on paper hot, but if they’re not good artists, I’m like, who cares?

Castillo: In an interview with Ziwe, you talk about “simple dog energy.”
Yes.

Wood: With straight men.
And? I mean, come on.

Castillo: Can you gauge Mikael? Is this simple dog energy?
Yeah, I could probably even tell you the breed. I think you’re giving sort of an Irish setter, maybe. I don’t know if that’s supposed to be offensive or not. You give one of those sort of regal dogs from Great Britain — those people in kilts and they blow a tiny whistle that no one can hear and the dog runs for 300 miles.

Castillo: That’s gonna go to his head.
That’s what I’m getting from you. But yes, straight men are simple dogs for sure.

Wood: In your song “Ring the Bell,” you talk about how you don’t want to talk about the rising cost of bread. Is that because you’re so famous now that you don’t actually know what bread costs?
I still buy bread at Ralph’s like everyone else. I think it was more to do with, in “Ring the Bell,” that period of the album — you know the album’s chronological — and I think in that period, I was at parties and people were obviously trying to have more-than-just-slightly-surface conversations with me about whatever. And I was like, “I don’t want to talk about that — let’s drink.” I was just checked out, you know? I’m trying to think of the exact cost of bread.

Wood: You don’t know, bro.
Do you know off the top of your head?

Wood: $3.49.
Look it up right now.

Wood: I actually have no idea.
Bitch. I can’t even remember what I did this morning. Like I’m gonna remember what f—ing bread costs?

Wood: In the title track of your new album, you talk about “Beachwood debutantes playing F—, Marry, Kill.” We’re finishing this with a round of F—, Marry, Kill. Your three people are Dolly Parton, Ed Sheeran and Stella Lefty.
Oh my God, y’all like drama. Well, obviously marry Dolly Parton. [Thinks for a moment.] I’ll take the bullet, honestly.

Orville Peck brought his moving and carefully crafted new album, “Mule,” to the Hollywood Bowl on Friday night. One of the year’s best country LPs so far, “Mule” charts the masked singer-songwriter’s sobriety journey after he hit a low point in 2023; the concert mixed songs from the album with Peck’s oldies, an appearance by his friend Noah Cyrus and a handful of covers, including a tender rendition of the late Dolly Parton’s “I Will Always Love You.” Before the show, we sat down with Peck in his dressing room for a chat.

Mikael Wood: Your new album is out today, and tonight you’re playing the Hollywood Bowl. Which of your childhood nemeses do you wish could see you now?
I’ve got two parts of my personality. There’s one part where I’m like, none of them — I don’t want to give it any air. Then there’s another part of me that has a 3,000-person Rolodex in my head because I’m petty sometimes.

Rebecca Castillo: Let’s name names.
Let’s do it — get my phone.

Wood: The video for your song “Already Gone” has you dancing in a rehab. Was that how you envisioned the rehab experience?
I take a little artistic license. I wouldn’t say I was dancing down the hallways, but I was climbing up the walls for sure. I never anticipated I would be someone that would go to rehab. Even when I was there, I was sort of under this false egotistical pretense that I didn’t really belong there — that everyone else was really sick and I just had a bit of a problem. So it took a lot of breaking down these defenses and addict ways of thinking that told me I was unique or special. I didn’t know they were gonna knock at your door every 20 minutes. I didn’t know know that you weren’t allowed to make phone calls. I was pretty shocked by a lot of it — I went there in a haze.

Castillo: Were there any artists whose music helped you get through the experience?
I don’t remember wanting to have anything to do with music, to be honest with you. They allowed me to have my guitar — I remember a friend of mine dropped off a guitar for me, and it sat in the corner for most of the time. I think I was so worn down and tired — I think I felt pretty resentful about music back then. Noah Cyrus, actually, is one of three people that was allowed to come visit me in the slammer, and she played me some songs that she was working on. I just remember staring out the window a lot.

Wood: You’ve brought a new level of style and, dare I say, sexiness to country music. Who’s a country music sex object for you?
I always thought Tim McGraw was very sexy — especially in his later years, where he started to chisel up like crazy. I think young Alan Jackson was very sexy.

Wood: Great mustache.
You know, Noah’s father was quite sexy back in the day — Billy Ray. Who do I think is sexy in country music these days? I think mostly the women are sexy now. I don’t know — I find talent sexy now. Some of the guys are on paper hot, but if they’re not good artists, I’m like, who cares?

Castillo: In an interview with Ziwe, you talk about “simple dog energy.”
Yes.

Wood: With straight men.
And? I mean, come on.

Castillo: Can you gauge Mikael? Is this simple dog energy?
Yeah, I could probably even tell you the breed. I think you’re giving sort of an Irish setter, maybe. I don’t know if that’s supposed to be offensive or not. You give one of those sort of regal dogs from Great Britain — those people in kilts and they blow a tiny whistle that no one can hear and the dog runs for 300 miles.

Castillo: That’s gonna go to his head.
That’s what I’m getting from you. But yes, straight men are simple dogs for sure.

Wood: In your song “Ring the Bell,” you talk about how you don’t want to talk about the rising cost of bread. Is that because you’re so famous now that you don’t actually know what bread costs?
I still buy bread at Ralph’s like everyone else. I think it was more to do with, in “Ring the Bell,” that period of the album — you know the album’s chronological — and I think in that period, I was at parties and people were obviously trying to have more-than-just-slightly-surface conversations with me about whatever. And I was like, “I don’t want to talk about that — let’s drink.” I was just checked out, you know? I’m trying to think of the exact cost of bread.

Wood: You don’t know, bro.
Do you know off the top of your head?

Wood: $3.49.
Look it up right now.

Wood: I actually have no idea.
Bitch. I can’t even remember what I did this morning. Like I’m gonna remember what f—ing bread costs?

Wood: In the title track of your new album, you talk about “Beachwood debutantes playing F—, Marry, Kill.” We’re finishing this with a round of F—, Marry, Kill. Your three people are Dolly Parton, Ed Sheeran and Stella Lefty.
Oh my God, y’all like drama. Well, obviously marry Dolly Parton. [Thinks for a moment.] I’ll take the bullet, honestly.