Driving to Durant for a Hank Williams Jr. concert sparked a mix of anticipation and apprehension. While acknowledging his controversial public persona, the allure of hearing classic country tunes live, particularly Hank Williams Jr. Songs that resonated from childhood, was undeniable. The hope was for a setlist leaning into his enduring musical catalog, rather than more recent, less celebrated work.
The concert at the Choctaw Events Center began with “All My Rowdy Friends (Have Settled Down),” an instantly recognizable anthem, especially for those familiar with Monday Night Football. This energetic opening immediately engaged the audience, creating a lively atmosphere. The crowd, a diverse mix including long-time fans, enthusiastically embraced the party vibe, some perhaps a bit too eagerly.
However, the setlist quickly moved beyond pure entertainment into more divisive territory. “Keep the Change” served as a direct political statement, critical of President Obama and expressing conservative viewpoints. This shift in tone highlighted the polarization sometimes present in Hank Williams Jr. songs and performances, moving away from purely musical content.
The middle portion of the concert featured covers of Southern rock staples like Lynyrd Skynyrd’s “Three Steps” and The Marshall Tucker Band’s “Can’t You See,” alongside Hank Williams Jr. songs such as “Kaw-Liga.” The performance of “Kaw-Liga,” a song with problematic racial undertones in its original context, was presented without significant alteration, potentially alienating some audience members while resonating with others. An anecdote shared by Williams, intended to be humorous, employed a stereotypical caricature of an African American man, further contributing to the sense of discomfort for some.
The performance then transitioned to “If the South Woulda Won,” a song steeped in Confederate imagery. This moment saw a visible embrace of Confederate symbols within the audience, with rebel flags prominently displayed. Following this, “Dinosaur” included lyrics containing homophobic sentiments, further showcasing the controversial and sometimes offensive lyrical content present in some Hank Williams Jr. songs. The inclusion of an ad-libbed homophobic slur during “Dinosaur” amplified the divisive nature of the performance.
Amidst these moments of political and social commentary, glimpses of Williams’ musical heritage emerged. Covers of Hank Williams Sr. classics such as “Lovesick Blues” and “There’s a Tear in My Beer” offered fleeting reminders of his lineage and the depth of traditional country music. While Williams’ vocal delivery leaned towards a spoken-word style, particularly noticeable in his later years, echoes of his father’s soulful vocal quality were still discernible, hinting at the musical talent he inherited.
One of the more poignant moments arrived with “The Blues Man,” a song reflecting on Williams’ personal struggles. This track, from his more introspective period, connected with the audience and showcased his songwriting ability beyond the more overtly political or controversial Hank Williams Jr. songs. However, even during this song, vocal limitations were apparent, with Williams relying more on speaking than singing the higher notes.
Ultimately, the concert presented a mixed experience. While moments of musical nostalgia and connection to the legacy of Hank Williams Jr. songs were present, they were interwoven with politically charged statements and socially insensitive content. The performance served as a reminder of the complex and sometimes contradictory nature of Hank Williams Jr.’s career, encompassing both enduring musical contributions and controversial public stances. For those seeking a straightforward celebration of classic country music, the concert offered glimpses, but also presented aspects that might be challenging or alienating.
