Robert Earl Keen proves retirement doesn’t slow him down (three years later)

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It’s familiar to me, yet I can’t pinpoint the occasion or location. Last night at The Birchmere, the headliner, Robert Earl Keen, made a gracious entrance to introduce his opening act – Nashville-based artist Henry Conlon. This is typical of the humble, self-effacing acts that post-retirement Keen has been exhibiting lately. Subsequently, he stepped off stage, letting Conlon take center stage.

After an hour had passed, Keen appeared with a mostly clean-shaven face, donning a ball cap instead of his usual cowboy hat, the seasoned alt-country icon provided a casual, relaxed, and highly enjoyable performance lasting 75 minutes, filled with anecdotes and tunes chronicling his life and career.

He awkwardly handled the gear, shared anecdotes about his varied academic background as a Texas A&M alumnus (subtly mocking UT Austin), and spun endearing stories about the origin of several of his earliest compositions.

On those particular nights, Keen was performing for the first time in a row at The Birchmere, which he often refers to as his preferred venue. While he may express fondness for other venues, it’s worth noting that The Birchmere in Alexandria, Virginia, has a long-standing relationship with the artist. Decorating its walls are at least two old photographs of him, one of which appears to capture him before reaching his twenties. Now, as a 69-year-old man, he continues to impress audiences with his performance.

Robert Earl Keen, enjoying life as a retired performer

In 2022, Keen announced his retirement from playing the guitar, vowing never to pick it up again. However, this resolution didn’t hold, as he discovered: “It’s actually the one thing I excel at.

On Tuesday, he appeared to enjoy delving into his extensive catalog. Over half of his performance was drawn from his initial four albums, which were all released over 30 years ago. Kicking off the night was “Dreadful Selfish Crime” from the 1994 album “Gringo Honeymoon“, followed by a few other tracks from that same record, including the beloved crowd-pleaser “Merry Christmas From the Family.

It was somewhat unexpected that he didn’t perform the well-known theme song, and interestingly enough, out of the four songs prominently displayed on t-shirts in the merchandise area (which is quite spacious at The Birchmere, not just a small table), he chose to omit three of them. However, the one he did play was intriguing.

Originally released in 1998, “Feelin’ Good Again” is one of the singer’s most openly cheerful and lively tracks. However, during a recent performance on Tuesday, he gave the song a more contemplative twist, imbuing it with a hint of sadness that mirrors the wisdom of maturity. Imagine if you will, a reinterpretation of this well-known tune.

For the first time, it felt like I was right there amidst the scene, as if I were old man Perkins, seated on his stool, observing Butch and Jimmy John engaging in a lively conversation while playing pool.

In a way, Keen used to be Butch. Now he is closer to the old man Perkins.

To avoid giving the impression that he’s lost his touch, don’t fret. Though thinner than before, he hasn’t lost an ounce of wit or charm, and yes, he can still croon. Whether it’s the offbeat humor in “Mr. Wolf and Mamabear” and “A Border Tragedy,” or something more sentimental, Keen continues to captivate his audience.

The message of this song, “Mariano” from the 1989 album “West Textures,” could hardly be more relevant today. Written by John Hiatt, it poignantly tells the story of a diligent immigrant who mysteriously vanishes, making its timeliness evident without the need for explicit commentary. The song’s powerful impact speaks for itself.

On an evening when he omitted popular picks such as “Corpus Christie Bay” and his signature song, “The Road Goes on Forever and the Party Never Ends,” Keen instead offered a diverse selection of songs – spanning from the unconventional early track “Armadillo Jackal” to the more recent jazzy piece “Let’s Valet.” This is the charm of having such an extensive catalog to draw from.

The closing number of the main set, “The Front Porch Song,” and the first encore, “Bears,” both seemed to carry the essence of Lyle Lovett, a fellow Houstonian. These songs were originally written by Steven Fromholz and later recorded by Lovett on his 1998 album, “Step Inside This House,” which is dedicated to Texas songwriters.

At the end of the night, Keen played “I Gotta Go” off his 2011 album, Ready for Confetti. The catchy and clever song tells a sad story about a swindler, but its cheerful tone makes the somewhat gloomy message inconsequential. In essence, it’s the quintessential Robert Earl Keen tune.

Regarding Henry Conlon, a young man from Long Island now residing in Nashville, he demonstrated a similar perspective, extracting sadness and heartache for humor and insight. His latest track, “Sometimes the Weather,” released recently, hints at a songwriter worth noting. Their friendship began when legend Keen visited Conlon’s guitar store, sparking their conversation.

Initially, Keen listened to a few songs from the young man. Later, he started presenting him to larger audiences. This is a typical action of an elder statesman, and with his everlasting youthful charm, Robert Earl Keen has earned that title.

Over the next couple of days, you have the opportunity to see Keen and Conlon perform at the Birchmere. Following this, Keen will head back to Texas, where he will orchestrate a charitable event featuring some big names, supporting the Texas Hill Community.

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2025-08-20 19:00