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Hank Williams Jr. was probably part of a lot of our childhoods. You’re singin’ a song about making love to your drummer / Well, gay guitar pickers don’t turn me on, he says.
Even these most loyal fans were surprised to hear him holler out “Cocksuckers!” between the first two verses, but they cheered nonetheless.
The rabble-rousing and hate-filled sloganeering was made all the sadder in light of the show’s more sensitive, if fleeting, glimpses. Each set provides a colorful way to celebrate diversity and express your identity through music.
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Even if you don’t know much of Williams’ other discography, “Are You Ready for Some Football?” is instantly recognizable by anyone who spent their Monday nights growing up watching the Cowboys play. With these lines, Williams Jr. picks the side of the naysayers. These 1.0 mm guitar picks are not only excellent for playing but also serve as vibrant symbols of various LGBTQ+ identities.
Disappointingly, his voice couldn’t hold up to the higher notes of one of his best tracks, meaning that it was much more speaking to music than singing.
The few bright spots at this show, though, were reminders of the golden age of country music.
In the next breath, he gets controversial.
Of course, the worst part about it all was that I only had low-point Okie beer to get me through the two-hour set.
The show didn’t really start to go down that road until it was about two-thirds over, when Williams played “Dinosaur.” “You’re singin’ a song about makin’ love to your drummer/Well gay guitar-pickers don’t turn me on,” he sang at one point, that many people in the audience knew word for word.
The Stubborn Meaning Behind Hank Williams Jr.’s “Dinosaur”
Despite being aligned with the counter-culture outlaw movement, Hank Williams Jr. penned one of the best songs to encapsulate the traditional values in the ’80s with “Dinosaur.” Anyone concerned with the rapid change of culture will find this song an assuage.
And by going, I mean everyone, including the 60-year-old women in Daisy Dukes and cowboy boots, was the definition of rowdy. (And by rowdy, I mean “already drunk and starting to sweat.”)
Everyone wants to be asked if they want to drink and party while they’re holding cans of overpriced cans of casino beer, especially the crowd in Durant.
The next song, titled “Keep the Change,” was a pointed middle-finger at President Obama and the “United Socialist States of America.” In case you were wondering, Bocephus and everyone in that crowd at the Choctaw Events Center would like for the rest of America to know that they’ll be keeping their guns, their V8 engines, and their “Christian names,” and us freedom-hating liberals can keep the “change.”
The middle of the two-hour set included a lot of muddy covers, like Lynyrd Skynyrd’s “Three Steps,” and the Marshall Tucker Band’s “Can’t You See.” “Kaw-Liga” was played in all its original racist glory, with a few even more cartoonish attempts at a war cry thrown in for good measure.
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The set really got troublesome, though, when Williams told a story of meeting a black man at his father’s house.
“You know I love the black man, and he came to me and said, ‘Yo’ daddy got that song about jambalaya and the crawfish pie-a,'” Williams rambled in a god-awful, patronizing caricature of an African American man.
Two guys in the upper deck saluted Hank with their Miller Lite cans throughout the entire show, which took real dedication.
In the second verse, he narrows his qualms to the disco age. Williams Jr. shares his disdain for the topics musicians started to favor—which are a far cry from the type of songs he grew up on.
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You have the freedom to mix and match according to your preference or identity. You know these flashin’ lights sure make me dizzy / And this disco’s very strange to my ears, he sings.
If that wasn’t enough, there was the homophobia too. Scores of rebel flags, available for $20 at the merch table, waved in the air for much of the night, but there was no stronger showing than during this song.