RECAP: SHABOOZEY BRINGS 'OUTLAWS NEVER DIE TOUR' TO VANCOUVER
Shaboozey brought the ‘Outlaws Never Die Tour’ to Doug Mitchell Thunderbird Sports Centre in Vancouver on October 17 for his first performance in the city. Vancouver marked stop No. 20 of the 25 date North American run and its third and final Canadian appearance, following Laval and Toronto in September. The date also arrived at a point where Shaboozey had moved well beyond simply touring behind ‘A Bar Song (Tipsy)’, bringing a four-part Western production built primarily around his 2026 album The Outlaw Cherie Lee & Other Western Tales.
Photos by Tage Stenner / Backspin HQ
The Vancouver debut carried an interesting Canadian connection before the concert even began. ‘A Bar Song (Tipsy)’ reached No. 1 on the Billboard Canadian Hot 100 in May 2024, getting there before it topped the U.S. Hot 100 that July. The song eventually spent 25 weeks at No. 1 in Canada, breaking the chart’s previous longevity record. For an artist making his first documented Vancouver appearance more than two years later, Canada had already played an important role in the breakthrough that brought him to a much larger audience.
Before Shaboozey took over the stage, Carter Faith opened the evening. The North Carolina country singer released her debut album Cherry Valley in 2025 and joined the final stretch of the Outlaws Never Die Tour for Vancouver, Seattle, Portland and Los Angeles after previously supporting artists including Post Malone, Chris Stapleton and George Strait.
Shaboozey’s portion began with an opening film before ‘Til Sunday’ started the live set, immediately putting The Outlaw Cherie Lee & Other Western Tales at the centre of the concert. ‘High Noon’ followed before ‘Drink Don’t Need No Mix’ reached back to Where I’ve Been, Isn’t Where I’m Going, giving the early stretch a connection to the album that carried his 2024 breakthrough. ‘Sweet Revenge’ then returned the show to the new record before the first cinematic transition moved the Western story forward.
The production made the album’s direction visible from the stage. Shaboozey appeared in a weathered dark leather vest over a black sleeveless top, faded charcoal denim, black Western boots and a patterned bandana, with layered jewellery and a large belt buckle completing the look. Behind him, illuminated orange and red rock formations stretched across the backdrop while physical rock scenery and a wagon-inspired structure extended the desert setting onto the stage itself. Live instrumentation remained visible within that environment, including a musician playing banjo.
The staging fit a record that was written as a continuous Western narrative rather than simply a collection of songs with cowboy imagery. The Outlaw Cherie Lee & Other Western Tales follows the fictional Cherie Lee as she pursues the Bootcut Boys after the murder of her sheriff father, only for the revenge story to become complicated when she develops feelings for one of the outlaws. The album’s interludes and character-driven structure gave the tour something concrete to translate into the live show.
That is where the Vancouver set differed most from simply assembling Shaboozey’s best-known material. Twelve of the 18 performed songs came from the new album, meaning roughly two thirds of the concert was devoted to the current record. ‘Born to Die’, ‘Bullets & Blades’, ‘Bounty on My Head’, ‘If I Was an Outlaw’, ‘Cowgirl’ and ‘Burn It Down’ all helped carry the story between video segments rather than forcing the show to depend on older singles.
The four-part structure also gave those songs more context. A ‘Hell On Their Heels’ video separated the opening section from the longest run of the night, while ‘Cherie Lee Bootcut Boys’ introduced another chapter before ‘If I Was an Outlaw’, ‘Cowgirl’ and ‘Burn It Down’. A later ‘Falling In Love’ sequence moved the story into its final section before the show approached its closing stretch.
Throughout the evening, Shaboozey worked references to Vancouver and B.C., repeatedly raising and lowering his hands to encourage participation from the audience. The interactions stayed brief rather than interrupting the pacing for long speeches, which worked with a concert already carrying much of its story through songs, video and stage imagery.
The current tour also shows how quickly the context around Shaboozey has changed. His catalogue stretches back well before ‘A Bar Song (Tipsy)’, including his 2018 debut Lady Wrangler and 2022’s Cowboys Live Forever, Outlaws Never Die. His mainstream profile accelerated considerably in 2024 after appearances on Beyoncé’s Cowboy Carter and the release of Where I’ve Been, Isn’t Where I’m Going, but the Vancouver show was built around what came next rather than treating that breakthrough as the endpoint.
That was particularly clear late in the set. ‘Amen’, his collaboration with Jelly Roll that won Best Country Duo/Group Performance at the 2026 Grammys, appeared alongside ‘Good News’ before ‘Lone Survivor’ closed the main portion of the concert. Jelly Roll was not part of the Vancouver performance, allowing the song to sit within Shaboozey’s own set rather than becoming a guest-driven moment.
The encore then separated the current era from the song most people still associate with his rise. ‘A Bar Song (Tipsy)’ was held until the final position, standing alone after a concert that had spent most of its time inside the world of The Outlaw Cherie Lee & Other Western Tales. Rather than placing his biggest hit at the centre of the production, Shaboozey allowed the new album to carry nearly the entire show before ending with the record that introduced him to a much wider audience.
That decision made the Vancouver debut feel representative of where his career sits in 2026. ‘A Bar Song (Tipsy)’ remains impossible to separate from his rise, particularly in Canada, but the Outlaws Never Die Tour is built to establish something larger around it. The Western setting, cinematic transitions and heavy reliance on the new record gave Vancouver a clearer look at the artist Shaboozey is building after the breakthrough rather than simply replaying the moment that created it.
After the concert, Shaboozey acknowledged Vancouver again through his Instagram account, sharing a three-image collage labelled “Vancouver,” while the official tour account posted its own crowd-facing image with a message thanking the city.
Following Vancouver, the Outlaws Never Die Tour continued south to Seattle on October 18. Four headline dates remain, moving through Portland, San Francisco and Sacramento before the 25 date run concludes October 27 at the Greek Theatre in Los Angeles.
Upcoming Shaboozey Tour Dates
October 20: Portland, OR @ Theater of the Clouds
October 23: San Francisco, CA @ The Masonic
October 24: Sacramento, CA @ Channel 24
October 27: Los Angeles, CA @ Greek Theatre
Shaboozey Photo Gallery
Shaboozey Concert FAQ
Was October 17 Shaboozey’s first Vancouver concert?
Yes. Shaboozey’s October 17, 2026 performance at Doug Mitchell Thunderbird Sports Centre is his first documented public concert in Vancouver and British Columbia.
What tour did Shaboozey bring to Vancouver?
Shaboozey brought the ‘Outlaws Never Die Tour’ to Vancouver. The 25 date North American headline run supports his fourth studio album, The Outlaw Cherie Lee & Other Western Tales.
Where did Vancouver fall on the Outlaws Never Die Tour?
Vancouver was stop No. 20 of 25 and the third and final Canadian date of the tour after Laval and Toronto.
What was Shaboozey’s setlist?
Shaboozey performed 18 songs in Vancouver across a four-part production with multiple video interludes. Twelve of the songs came from The Outlaw Cherie Lee & Other Western Tales.
What album was Shaboozey touring in 2026?
The Outlaws Never Die Tour supports The Outlaw Cherie Lee & Other Western Tales, Shaboozey’s fourth studio album, released July 31, 2026.
Where does Shaboozey tour after Vancouver?
Following Vancouver and Seattle, the tour continues through Portland, San Francisco and Sacramento before concluding at the Greek Theatre in Los Angeles on October 27, 2026.