Shaboozey: The Outlaw Cherie Lee & Other Western Tales review – a striking addition to the rich canon of country concept albums
(American Dogwood/Empire) Beneath the Hollywood narrators, Pink Floyd-y interludes and accompanying comic books lies songwriting that proves the Tipsy singer’s breakout success was no fluke
(American Dogwood/Empire) Beneath the Hollywood narrators, Pink Floyd-y interludes and accompanying comic books lies songwriting that proves the Tipsy singer’s breakout success was no fluke It’s fair to say that if Shaboozey never released another note of music, his place in history would still be assured. He wasn’t the only Black country-leaning artist brought to a wider audience by a guest appearance on Beyoncé’s 2024 album Cowboy Carter, but no one else capitalised on the exposure quite so remarkably.
Released two weeks after his guest appearance on that album’s Spaghettii, his single A Bar Song (Tipsy) unexpectedly eclipsed Beyoncé’s success, becoming the biggest-selling country single of the year – more than 1.75bn streams and counting on Spotify – and for a time, the joint longest-running US No 1 of all time. He’s received three nominations at the Country Music awards, an event traditionally resistant to artists of colour.
The accompanying album, Where I’ve Been, Isn’t Where I’m Going, was by far the most successful sustained attempt to fuse hip-hop and country, two genres that have been warily circling each other for some time, spawning the occasional novelty hit such as Nelly and Tim McGraw’s Over and Over Again, the Ludacris-featuring 2010 remix of Jason Aldean’s Dirt Road, and Lil Nas X’s Old Town Road; the baleful, rap-influenced spectre of bro country; and the deep underground sub-genre of hick-hop, a hidden world of Maga politics, confederate flags and festivals held at Georgia mud holes.
The album is still on the US chart, 112 weeks after its release. Continue reading...
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