The Weekly Coos

Beyonce introduced many to Shaboozey on Cowboy Carter, myself included, and listening to his first two albums, they showed this unique talent to blend two genres that have rarely been inventive. Many Country Hip-Hop hybrids have been too safe with the production, fitting it simple drums and strums and twangs like “Dirt Road Anthem (Remix)”, or you get the overly poppy “Old Town Road;” so when it came to listening to Shaboozey’s work, and Cowboy Carter, I sensed a new door is opening hoping this form of Alt-Country grows. Shaboozey has range and engaging flows showcasing his strengths without straddling safe lines unfailingly, staying predominantly creative, thanks to his producers. Highlighted by the fantastic “A Bar Song (Tipsy),” Shaboozey’s third album, Where I’ve Been, Isn’t Where I’m Going, is another entry that offers consistency, and balance between complementing and contrasting sounds, giving us something to reflect on. Unfortunately, it has its missteps, and much comes from the delivery, starting with the production, but there is enough to give this album a spin or two, especially as he goes the singing route more than he does with the trap-like flows from his first two albums.

There’s something to Shaboozey’s vocals that have this calming balance bolstering the sonic direction the track wants to take. On previous albums, he blends in some of the twangs in his flows, elevating its uniqueness. It made his last album, Cowboys Live Forever, Outlaws Never Die, an impressive project as it doesn’t rely on a gimmick to make itself stand out. Though one can think that he straddles a slightly mundane approach to his vocal concoctions, especially in the choruses, Shaboozey still spins the lasso overhead and grips you with his emotional range, channeling the influences of the country genre. “My Love” off Cowboys Live Forever, Outlaws Never Die is a solid example, with Shaboozey blending textures of Soul and Folk before the trap-autotunes switch their angle, slightly reminding me of a Lumineers performance in its beginning. Where I’ve Been, Isn’t Where I’m Going is a step back into more traditionalism with the genre; however, it doesn’t push away elements it wants to bring in, like when inputs in some rap flow in “Vegas,” that is more in touch with his identity, which on his new album feels more stripped down and combing through the more soulful vocals.

Unlike previous albums, the production and vocals feel more natural, especially as Shaboozey sounds more comfortable and less so pander-like, as heard with “GAS!” off his last album, where it tries harder to be Hip-Hop at its core, making some of the overtones feel like it’s trying hard to mish-mosh the two while Where I’ve Been, Isn’t Where I’m Going is trying to feel more humbling, and a self-reflection of growth. He slowly moves away from rapping full-time, something we’ve seen all too similarly with Raury; however, Shaboozey seems like someone who doesn’t let their hands off the bull’s horns and relish in making it work, like the opening track “Horses & Hellcats,” which blends Country and Hip-Hop with fluidity, adding layers to what could have been more apropos—it’s unlike “Stick and Stones,” where the flows aren’t as interesting. Much of that comes from its production being more band-centric, amplifying the strings and synths, further giving us nuanced production that embodies the spirits that make Country music, like its Folk and Gospel/Soul music roots with a twist, even when “Let It Burn” and “Steal Her From Me” have bland Rock and twangy ballad aesthetics respectively.

There is a noticeable detachment from the sound one’s gotten used to from his first two albums, and that’s because he is removing the trap and opening his horizons for a more fluid country album that takes the strengths of his flows and string orchestration; he wants to get more tender and show the emotion on his sleeves. That isn’t to say it’s devoid of Trap, but it’s more subtle with its implementation, becoming more of a guiding reference that pushes the potency of what Shaboozey wants to say. Whether he’s lamenting about his rise and life by using unique settings to reflect that, like the captivating “Highway,” where Shaboozey sees himself stuck on this highway as he can’t overcome his thoughts, the regrets, the emptiness, and more. He has a more focused take on that with “Anabelle,” where he composites his varying faults, breaking down more barriers, as we’d hear later on with tracks like “My Fault,” “Vegas,” and “Finally Over,” the former of which hits a momentous high as Shaboozey and Noah Cyrus link and perform this amazing duet with such synergy. Shaboozey tackles addiction, relationships, and identity, as he does so on “Last of My Kind,” which is cheeky about what he wants to say about race in Country music. 

It’s safe to say Where I’ve Been, Isn’t Where I’m Going is something of a favorite this summer, especially the significant highlight “A Bar Song (Tipsy).” It’s more in line with the essence of country, except more nuanced to the roots and using Shaboozey’s vocals as a powering force that keeps you focused on the craft. I’ll be here all summer singing, “One, here comes the two to the three to the four/Tell ’em “Bring another round,” we need plenty more/Two-steppin’ on the table, she don’t need a dance floor/Oh my, good Lord,” as if a party is happening on the wind-down. I implore y’all to give this a spin because Shaboozey is here to stay, and I’m hopeful he stands amongst current greats with a sound all his own.