Saving Country Music has taken a nuanced stance on Shaboozey’s summer hit “A Bar Song (Tipsy).” While the song is not deemed terrible, it’s essential to differentiate between songs, albums, and artists to avoid falling into binary, reactionary, and biased patterns. The initial review in early May noted, “For a derivative, commercially ambitious and formulaic song grasping for low-hanging fruit, ‘A Bar’ is not bad. Compared to Lil Nas X’s ‘Old Town Road,’ Beyoncé’s ‘Texas Hold ‘Em,’ or Blanco Brown’s ‘The Git Up,’ ‘A Bar’ is probably more country-sounding and perhaps better overall. It relies more on melody than rhythm, and the fiddle is welcome.”
However, “not bad” doesn’t equate to “good.” The review also mentioned, “For a bad song, it is not especially bad. Which is good, because we might have to live with it pursuing us in life at every turn for a long, long time.” Objectively, “Tipsy” is catchy and compelling, capturing many relevant elements of current music trends. But this doesn’t mean it’s “good.” A deeper look into the song reveals some troubling aspects.
Recently, Rolling Stone posted a video of Shaboozey breaking down the hit track. Instead of showcasing the genius behind it, the breakdown inadvertently exposed Shaboozey’s novice status in country music and the minimal organic effort that went into the song. The first crucial point is that “A Bar (Tipsy)” is not an original track. Shaboozey admits they got the idea of “flipping” a 2000s song into a country song, choosing J-Kwon’s 2001 song “Tipsy.” This makes “A Bar (Tipsy)” a direct derivative of a 23-year-old song, both in approach and much of the lyricism. This is why the original “Tipsy” writers Jerrell Jones, Joe Kent, and Mark Williams are credited on the Shaboozey track.
While “song flipping” is common in hip-hop, it’s extremely uncommon and frowned upon in country music. It’s not unprecedented, though. Dustin Lynch’s recent reworking of “Drift Away” into his derivative “Chevrolet” is a similar example. The second evident point from Shaboozey’s breakdown is the minimal effort involved in creating the song. Unlike traditional country recordings with expert instrumentalists and singers in a studio, Shaboozey’s track was created entirely in front of a computer. This digital approach is common in hip-hop but not in country music, which typically starts with a songwriter’s inspiration and original lyrics and melody.
In the breakdown video, Shaboozey calls the fiddle the “best part of the song,” describing it as having a “Hobbit vibe. The Shire.” This shallow, pop culture perspective contrasts with a more accurate description of the fiddle part as having an Old World Celtic folk style. Shaboozey doesn’t clarify whether the fiddle part is a sample or played by someone. At the 2:21 mark, Shaboozey claims “Tipsy” is a “traditional country song,” revealing his ignorance of what constitutes country and traditional country music.
At the 3:35 mark, Shaboozey says, “You guys want to hear some 12-string guitar? You can’t have a country song without 12-string. You can’t have bluegrass without 12-string guitar.” This statement is ludicrous and uninformed. 12-string guitars are rare, specialty instruments not synonymous with country music and absolutely not affiliated with bluegrass. Bluegrass guitar is commonly flatpicked, and a 12-string guitar would hinder that technique. While 12-string guitars have been used in country songs, they are not synonymous with the genre.
Another misstep occurs when Shaboozey says, “Brush loops. Gotta have a brush loop. You can’t have an Americana song without brush loop.” He refers to incorporating a snare drum played with brushes instead of sticks, giving the snare hits a more diffused and muted sound. Looping this sound—recording a short snippet and repeating it—digitizes an organic element, underscoring that nobody “played” the song “A Bar (Tipsy)” in the recording process. It was pieced together digitally.
“A Bar (Tipsy)” exemplifies scraping the essence of organic authenticity from other songs and performances, copying and pasting it into a digital project, and releasing it as a product. Shaboozey mentions listening to Zach Bryan and The Lumineers while composing the track, affirming that “A Bar (Tipsy)” taps into the Zach Bryan appeal. The song is structured like a Zach Bryan song but dumbed down for the masses, incorporating zeitgeist signifiers like Birkin, Jack Daniels, whiskey, and tipsy.
Many Zach Bryan detractors are puzzled by his popularity despite his music seeming amateur and unpolished. The answer is simple: in an increasingly plastic, digital, and deceptive world, Zach Bryan’s music is real. His popularity stems from his blatant honesty and amateurish nature. Shaboozey harnessed this appeal in “A Bar (Tipsy),” but the public should not be fooled. The song is inorganic and not truly country. It’s a pieced-together product optimized to entertain, separating it from actual country music.
The lyrics of “A Bar (Tipsy)” reflect this manufactured nature. The song’s verses and chorus are catchy, with references to Birkin bags, Jack Daniels, and getting tipsy. The song’s structure and elements are designed to appeal to a broad audience, but it lacks the organic authenticity that defines true country music.
Shaboozey’s rise to mainstream popularity was boosted by his features on Beyoncé’s album “Cowboy Carter.” His song “A Bar Song (Tipsy)” has made a historic jump on Billboard’s Hot Country Songs chart, replacing Beyoncé’s “Texas Hold ‘Em” at No. 1. This marks the first time two Black artists have led the chart back to back since 1958. Shaboozey’s success is attributed to being in the right place at the right time and capitalizing on opportunities, such as the Beyoncé feature.
Shaboozey’s partnership with EMPIRE has been instrumental in his career. EMPIRE’s support and resources have helped Shaboozey figure out his sound and achieve mainstream success. The partnership has allowed Shaboozey to push boundaries and make great music, with more to come in the future.
In conclusion, while “A Bar Song (Tipsy)” is catchy and has achieved significant success, it lacks the organic authenticity of true country music. It’s a product of digital manipulation and strategic marketing, designed to appeal to a broad audience. Shaboozey’s rise to fame is a testament to the power of being prepared for opportunities and capitalizing on them, but the song itself is not a genuine representation of country music.
Source: Saving Country Music, Rolling Stone, Billboard
