The Outlaw Cherie Lee & Other Western Tales is a 20-track epic from a man whose registry of financial woes has shortened significantly since he wrote his breakout hit. Since Shaboozey captured global attention in 2024 with “A Bar Song (Tipsy)”—currently tied for the longest-running No. 1 on the Billboard Hot 100—and two appearances on Beyoncé’s Cowboy Carter, success has granted him the resources to do whatever he wants. This summer, he hired a 12-piece backing band to break into Bill Monroe’s bluegrass classic “Roanoke” during his Tiny Desk Concert. For the follow-up to his star-making third album, Where I’ve Been, Isn’t Where I’m Going, he has crafted a record that plays like an entire season of Yellowstone on fast-forward.
A Cinematic Concept Album
While Pink Floyd’s The Wall is one of his all-time favorites, the Virginia-born songwriter seems to draw more inspiration here from Red Dead Redemption and Tarantino films. The narrative follows a female protagonist who sets out to avenge her father’s murder, only to fall in love with an outlaw from the gang responsible for the crime. She attempts to reform him, but ultimately murders him in the final act. An ensemble cast helps tell the tale, featuring interludes from Teyana Taylor as the remorseful villainess, Sam Elliott as a familiar archetype, and Jamie Foxx, who delivers warnings with the hushed intensity of a megachurch pastor. The ambition is admirable, though the grandiose plot occasionally falls flat without a companion visual aid to bridge the more formulaic tracks.
Navigating the Post-Viral Landscape
As recounted to Rolling Stone, Shaboozey’s creative director cautioned the singer that this project could demand “long-term attention from people in a short-span economy.” The album’s elaborate framework serves as an intentional alternative to simply chasing the viral success of his previous hit. However, he does make a few attempts at radio-friendly crossover appeal. “High Noon,” featuring Gunna, bears the loose shape of Yung Joc’s 2006 single “It’s Goin’ Down,” while the buoyant “Cowgirl” leans into a similar stomp-clap beat. While these tracks are designed for mass consumption, they lack the sharp wit required to truly disrupt the current musical landscape.
Returning to Roots and Oral Tradition
Shaboozey fares better when his influences stretch back to country music traditions that predate his viral fame. He delivers a compelling performance on “Drunk,” channeling the spirit of John Prine in an ode to love lost and the bottle found. It is a clear, impressive homage that succeeds through its lack of novelty. Furthermore, the inclusion of baritone balladeer Orville Peck on the final track, “Streets of Laredo,” allows Shaboozey to engage meaningfully with the genre’s ongoing oral tradition.
Ultimately, Shaboozey possesses a boundless charisma that gives him a distinct edge over the industry’s preferred machismo. Whether he is citing Townes Van Zandt or experimenting with pop-adjacent shuffles, he remains an artist who is easy to root for. Even when the narrative complexity of The Outlaw Cherie Lee & Other Western Tales feels uneven, his songwriting remains grounded in a likable, human sincerity.