Last week, Shamir dropped a new album and it’s as glittery, defiant, and explorational as anything he’s done before! The Las Vegas-born, Philly-based artist’s three previous albums include: Revelations, Room, and Resolution, all of which have received wide-spread acclaim for their inventive indie pop sound and refusal to be reigned in by genre boundaries. His latest album, Be the Yee, Here Comes the Haw, follows in this tradition.
While unconfirmed, its possible that Shamir is channeling the recent yeehaw agenda that made waves on Twitter in 2018 and whipped through the sound and aesthetics of music industry greats like Solange, Beyonce, and Cardi B. For those who haven’t saddled up to this trend, the yeehaw agenda embraces the rich, and often invisible, history of black cowboys in the United States and pushes for defiant, powerful black musicians decked out in cowboy hats and stir-ups whose music is as adventurous as their tasseled fashion choices. While Shamir’s album only hits at yeehaw, its obvious placement in the title is enough to convince listeners that he has been reading up on this trend and implementing it in his work. But this kind of experimentation with genre isn’t new for Shamir. Maybe Shamir was the original yeehaw, hawing before we knew to yee. Continue reading →