Orville Peck fronts an obvious pseudonym, a fringed domino mask that obscures his face and a catalog of queer cowboy tales he swears are based on real life. Gimmicks carry an artist only so far if they don’t have the goods. Fortunately for the Canadian, his talent’s real even if his persona isn’t. Armed with a gorgeous warble that sounds like a gothic Chris Isaak, Peck soars over the sparse arrangements, which prove a natural complement to all the reverb, tremolo, and twang. You don’t need to fully grok “Turn to Hate” and “Hope to Die” in order to feel what he’s channeling through them. (12:30pm, Honda stage)

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This article appears in October 11 • 2019.

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Michael Toland started writing about music in 1988 on the Gulf Coast, moved to Austin in early 1991, and has inflicted bylines upon the corporeal and digital pages of Pop Culture Press, The Big Takeover, Blurt, Amplifier, Austin.citysearch, the Austin American Statesman, Goldmine, Sleazegrinder, Rock & Roll Globe, High Bias, FHT Music Notes, and, since 2011, The Austin Chronicle.