Bob Dylan – Honky Tonk Blues Review

Every artist should be ready to surprise an audience. Whether that is with a snippet of new material, an older cut which has not been played for some time, or a cover of an artist they hold dear. Bob Dylan thrives on the third point and the many covers found in his live career are often a treat. Honky Tonk Blues is another in what feels to be an endless series of charmed, acoustic-driven tracks charting his influences and historied listening experiences. Hank Williams’ hit country classic is a stunning piece of work and has remained in the contemporary glow of the greats ever since. A revolving door of covers and unique performances are laid on the track, with Charley Pride and Huey Lewis and The News all lending their voice to the song. But nowhere is it more refined than this live recording from Dylan. 

A cool performance, all in all. The city life is not for everyone and stepping out to experience it, as the protagonist of this song does, is all it takes to love or hate it. Honky Tonk Blues has an open finality to it, a decent split down the middle for those wanting to make their way through the bustling streets. Dylan is as Williams was, a guide through those jumping avenues filled with raucous music and wilder feelings. Those country entertainment halls have a vice-like grip on those featured in the song, and those who find themselves represented by it. Music as a broader scope is still given the rebellious outlaw role, and for Dylan, it means playing up the charms of what has become the everyday. Rekindling the love for country music as a tool for rebellion is no small feat. The genre has moved on, often down a slope of no return.  

But Honky Tonk Blues has returned like a bolt out of the blue. It is a powerhouse country track and is in obviously safe hands with Dylan on stage. A smoother style to this Dylan cover gives a chance for these sharp lyrics to land that much harsher. Where he finds himself down and dirty, the protagonist, in this case, a neat allusion to the early years of Dylan, finds himself moved and empowered by the sounds of a new generation. Slick guitar work and instrumental style replace the shifting honky tonk nature. Williams produced a song which could be extracted and infiltrate any genre from any decade of music. Such is the sway of a new beat or groove and the swinging style Dylan and the band gives this one is remarkable.  

Dylan has often given these older songs, the pieces which influenced him at the time, a remarkable turnaround. But Honky Tonk Blues does not need lifting out of its time, it is already a song which stretches through the contemporary fields. Much of what Williams said on the original still rings true. We are still moved by new influences and finding them is another step away from home. Dylan accepts this and does little to meddle or mix this up, instead seeing it as a straight and narrow device to understand the moves of a new genre or beat. Accept and embrace it, do not run home to the safety of what you knew before. Powerful work from Williams transfers well onto the stage and is in safe hands when Dylan lays out this cover.