Shaboozey plays live at NYC’s Irving Plaza on Sept. 18, 2024.
At precisely 9:17 p.m. on Wednesday, Shaboozey stepped onto the stage at Irving Plaza to a sold-out crowd of 1,200 concertgoers. With beer in hand and a laid-back demeanor, the Nigerian American artist was here to do more than entertain — he was here to redefine the soundscape of country music. “New York, my name’s Shaboozey,” he introduced himself as cheers echoed throughout the venue. The crowd was already hooked.
Opening with "Last of My Kind," Shaboozey ignited the room, the audience singing along to every word. Dressed in a white deep-collared shirt and bootcut jeans, he joked about “breaking into these new Doc Martens,” pointing out their functional — though non-traditional — place in his country wardrobe. The backdrop alternated between vintage neon saloon signs and galloping horses, creating a visual homage to the genre’s rustic roots, while Shaboozey himself brought a fresh perspective.
Throughout the set, Shaboozey blended classic country elements with a contemporary twist, from whiskey shots on stage to calling out, “How many cowboys and cowgirls are here tonight?” His performance was punctuated by a surprise country rendition of Waka Flocka Flame's "No Hands," reminding everyone that Shaboozey’s music doesn’t fit into any neat box.
Photo by Will Oliver (IG @weallwantsomeone).
Shaboozey plays live at NYC’s Irving Plaza on Sept. 18, 2024.
It’s an interesting sight — a Nigerian man with dreadlocks, leading the charge in a genre long thought to be off-limits to Black artists. If you didn’t know better, you might have thought you were at a Morgan Wallen concert, judging by the crowd. But Shaboozey’s presence on that stage felt like a watershed moment, not just for him, but for the larger cultural narrative surrounding country music.
For too long, country music has been a space where Black artists, despite being foundational to its development, have been marginalized. Beyoncé’s 2016 performance of “Daddy Lessons” with The Chicks (formerly The Dixie Chicks) at the Country Music Awards was meant to mark a breakthrough moment, but the backlash that followed only highlighted the genre’s exclusionary tendencies. This experience fueled Beyoncé’s Cowboy Carter, the second album in her three-act series, where she fully leaned into country music. Despite the album's influence, Beyoncé has yet again been snubbed by the CMAs, receiving no nominations this year.
Shaboozey, featured on Cowboy Carter, received an immediate boost following his collaboration with Queen B, gaining her vote of approval. His star rose almost overnight, and this year, he has secured three CMA nominations — Single of the Year and New Artist of the Year for his hit “Bar Song (Tipsy).” His recognition suggests that the tides may finally be turning, even if Beyoncé's own snub speaks to the continued challenges within the industry.
Halfway through the show, a fan shouted, “703 Baby!” — a nod to Shaboozey’s Virginia roots. The moment underscored his unique position as both a rising country star and a hometown hero. He continued with a more soulful second half, closing with crowd favorite "Bar Song (Tipsy)," followed by a spirited encore.
Shaboozey’s success is significant for a deeper reason. The future of country music can only be truly diverse and reflective of the voices that shaped its past if Black artists aren’t tokenized but given real opportunities to thrive. Shaboozey is showing that Black artists aren’t just a part of country music’s history — they can actively influence and shape its future. His performance at Irving Plaza wasn’t just a show, it was a statement: Black artists won’t be relegated to the margins; they will define the future of country music.
- 8 African Country Musicians You Should Check Out ›
- Burna Boy, Tyla and Ayra Starr Among Best Afrobeats Nominees at MTV VMAs 2024 ›
- Tyla, Rema, Tems and Shaboozey Feature in Barack Obama’s 2024 Summer Playlist ›
- Shaboozey: How An Igbo Man Came to Rule American Country Music ›
