About the Song

Toby Keith’s 2012 hit “I Like Girls That Drink Beer” is more than just a catchy country song; it’s a celebration of down-to-earth values and a rejection of superficiality. The song resonated with listeners who appreciate authenticity and find joy in simple pleasures.

The song opens with a straightforward declaration: “I like girls that drink beer.” This line immediately sets the stage for a celebration of women who are comfortable in their own skin and enjoy the simple things in life.

Keith goes on to contrast the “high-rise life” with the down-to-earth values he cherishes:

“You bought me a black tie suit and I ain’t wearin’ it Can’t be seen in that thing in my Lariat Ain’t goin’ down to the ball in your chariot This high rise life just ain’t for me.”

He emphasizes his preference for a simpler lifestyle and a woman who shares his values.

The repeated chorus, “I like girls that drink beer,” becomes a mantra, celebrating women who are genuine, unpretentious, and enjoy the company of a good beer. It’s a lighthearted yet meaningful statement about the qualities Keith finds attractive.

Musically, the song is a classic example of upbeat country music. The driving rhythm, catchy melody, and Keith’s signature vocals create a fun and energetic atmosphere. The use of traditional instruments like the banjo and fiddle further reinforces the song’s down-home feel.

“I Like Girls That Drink Beer” has become a popular choice for country music fans who appreciate its relatable message and celebration of authenticity. It serves as a reminder that true happiness often lies in finding someone who shares your values and enjoys the simple things in life.

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Lyrics: I Like Girls That Drink Beer

Bye bye baby I’m leaving
You can keep your mansion and your money
Your boat and your Benz and your uptown friends
And your country club that ain’t really country
I need a little down home lovin’
And a man ain’t gonna get it up here
Yeah I’ll find what I want in a honky tonk
I like girls that drink beerYou bought me a black tie suit and I ain’t wearin’ it
Can’t be seen in that thing in my Lariat
Ain’t goin’ down to the ball in your chariot
This high rise life just ain’t for meBye bye baby I’m leaving
Now you can keep your mansion and your money
Your boat and your Benz and your uptown friends
And your country club that ain’t really country
I need a little down home lovin’
And a man ain’t gonna get it up here
Hey I’ll find what I want in a honky tonk
I like girls that drink beerThere’s a two lane black top road and I’m a-hittin’ it
Skynard back son, let her fly just a-gettin’ it
Find me a little hot spot and just sit in it
Give me a mug of that ice cold brew
Get me a girl that’s got one tooBye bye baby I’m leaving
You can keep your mansion and your money
Your boat and your Benz and your uptown friends
And your country club that ain’t really country
I need a little down home lovin’
And a man ain’t gonna get it up here
Hey I’ll find what I want in a honky tonk
I like girls that drink beer

Hey I need a little down home lovin’
And a man ain’t gonna get it up here
Hey I’ll find what I want in a honky tonk
I like girls that drink beer
Yeah I’ll find what I want in a honky tonk
I like girls that drink beer

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Before he ever stepped up to center stage under his own name, Cal Smith spent years standing quietly in the shadows as a sideman, playing guitar behind country legend Ernest Tubb. Born Calvin Shofner in Oklahoma and raised in California, he paid his dues in clubs and on radio before joining the Texas Troubadours in the early 1960s, watching other stars soak up the applause while his own solo ambitions moved at a crawl. By 1972, Smith was well into his late thirties with little more than modest chart placings to show for his efforts. Everything flipped when fellow songwriter Bill Anderson handed him “The Lord Knows I’m Drinking,” a sharp track about a man taking heat from a churchgoer whose own hands weren’t exactly clean. The single struck a nerve, shooting straight to No. 1. The true lightning strike arrived soon after. In December 1973, Smith walked into Bradley’s Barn to lay down Don Wayne’s “Country Bumpkin.” Tracing an ordinary man’s journey through marriage, children, and the devastating loss of his wife, the song packed an entire lifetime into a few poignant verses and climbed to the top of the charts in 1974. The accolades poured in, sweeping Single Record and Song of the Year at the ACM Awards, alongside a CMA Song of the Year honor for the writing. Smith quickly proved he wasn’t a one-hit wonder by following up with another chart-topper, “It’s Time to Pay the Fiddler.” After more than a decade of holding down the rhythm section for everyone else, Cal Smith’s long-delayed moment in the sun finally arrived—forever stamping his voice onto one of the defining country anthems of the 1970s.