Item: The Outlaw Cherie Lee & Other Western Tales
Rating: 7
Author: nme

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The Outlaw Cherie Lee & Other Western Tales by Shaboozey reviewed by nme — 7.0/10 | Wavelength | Wavelength

an ambitious, cinematic tale of love and vengeance

Yet such a spotlight comes with heightened expectations. Shaboozey’s acceptance speech as the first Black male artist to win a Grammy for Best Country Duo/Group Performance was met with scrutiny from Bernice King, daughter of Martin Luther King Jr, who felt his remark that “immigrants build this country” – an homage to his Nigerian roots – overlooked the contribution of Black slaves. With more eyes and responsibility upon him, releasing a 20-track concept album is a bold move.

“This is a tale about revenge and what lengths a woman would go to get hers,” says Jamie Foxx on the intro to ‘The Outlaw Cherie Lee & Other Western Tales’, warning “there’s a hefty price to pay”. A woman driven by her quest to avenge the death of her father, Cherie Lee’s pursuit draws her deeper into cyclical bloodshed. On her journey, she meets and falls for an outlaw tied to the crooks who caused her pain, and so faces a conflict of love, murder and becoming what she hates the most.

Shaboozey captures the dust and distrust of the desert wilderness on ‘Sweet Revenge’, where Cherie Lee sets out on her quest amidst riffing guitars and gospel harmonies – a meeting of worlds. The features mirror that same spirit, with Gunna, Kehlani, Leon Bridges and Orville Peck, plus award-winning actors Sam Elliott and Teyana Taylor all making appearances – they add character to the storytelling while reinforcing Shaboozey’s newfound gravitational pull.

‘If I Was An Outlaw’, nails the flippant, anecdotal side of country that comes with a fiddle, a nudge and a wink. Meanwhile, ‘Cowgirl’ captures the feel-good frivolity of crushing hard with a raucous chorus and clapping rhythms, as does celebratory foot-stomper ‘Born To Die’, which pays homage to those who elevate us to achieve and the sacrifices made along the way: “Pour something strong or don’t pour at all… raise a glass to always living life”.

For all its ambition, ‘The Outlaw Cherie Lee…’ is more a concept album in spirit and less in conduct. The tracks are connected by a loose thematic thread instead of acting as chapters driving plot – it is uncertain at times whether we are hearing from Cherie Lee or Shaboozey himself, and it is here that the impact is diluted. But even as the world-building slips, there belies a vulnerability in the album’s slower moments: ‘Kissed By An Angel’ sees Cherie Lee’s love giving up wild ways over soft, introspective guitar (“If I’m out of second chances, I won’t leave without a fight”).

By the time the reflective opine of ‘Coyotes Point’ comes round, Cherie Lee is weather-worn and tougher than before. Perhaps, in some ways, Shaboozey is too; for despite the responsibility bestowed upon him as a Black artist moving in the predominantly white world of country, he has stayed true to his vision, blending genres and, most importantly, himself.

The past two years have been life-changing for country-fusion star Shaboozey. Waking up to two features on Beyoncé’s 2024 album ‘Cowboy Carter’, an unprecedented cosign of dreams, came first. Weeks later, his breakthrough hit ‘A Bar Song (Tipsy)’ topped the Billboard Hot 100 and his third album, ‘Where I’ve Been, Isn’t Where I’m Going’, released to critical acclaim. There was no denying it – Shaboozey had arrived. Yet such a spotlight comes with heightened expectations. Shaboozey’s acceptance speech as the first Black male artist to win a Grammy for Best Country Duo/Group Performance was met with scrutiny from Bernice King, daughter of Martin Luther King Jr, who felt his remark that “immigrants build this country” – an homage to his Nigerian roots – overlooked the contribution of Black slaves. With more eyes and responsibility upon him, releasing a 20-track concept album is a bold move. “This is a tale about revenge and what lengths a woman would go to get hers,” says Jamie Foxx on the intro to ‘The Outlaw Cherie Lee & Other Western Tales’, warning “there’s a hefty price to pay”. A woman driven by her quest to avenge the death of her father, Cherie Lee’s pursuit draws her deeper into cyclical bloodshed. On her journey, she meets and falls for an outlaw tied to the crooks who caused her pain, and so faces a conflict of love, murder and becoming what she hates the most. Shaboozey captures the dust and distrust of the desert wilderness on ‘Sweet Revenge’, where Cherie Lee sets out on her quest amidst riffing guitars and gospel harmonies – a meeting of worlds. The features mirror that same spirit, with Gunna, Kehlani, Leon Bridges and Orville Peck, plus award-winning actors Sam Elliott and Teyana Taylor all making appearances – they add character to the storytelling while reinforcing Shaboozey’s newfound gravitational pull. ‘If I Was An Outlaw’, nails the flippant, anecdotal side of country that comes with a fiddle, a nudge and a wink. Meanwhile, ‘Cowgirl’ captures the feel-good frivolity of crushing hard with a raucous chorus and clapping rhythms, as does celebratory foot-stomper ‘Born To Die’, which pays homage to those who elevate us to achieve and the sacrifices made along the way: “Pour something strong or don’t pour at all… raise a glass to always living life”. For all its ambition, ‘The Outlaw Cherie Lee…’ is more a concept album in spirit and less in conduct. The tracks are connected by a loose thematic thread instead of acting as chapters driving plot – it is uncertain at times whether we are hearing from Cherie Lee or Shaboozey himself, and it is here that the impact is diluted. But even as the world-building slips, there belies a vulnerability in the album’s slower moments: ‘Kissed By An Angel’ sees Cherie Lee’s love giving up wild ways over soft, introspective guitar (“If I’m out of second chances, I won’t leave without a fight”). By the time the reflective opine of ‘Coyotes Point’ comes round, Cherie Lee is weather-worn and tougher than before. Perhaps, in some ways, Shaboozey is too; for despite the responsibility bestowed upon him as a Black artist moving in the predominantly white world of country, he has stayed true to his vision, blending genres and, most importantly, himself.