Robert Earl Keen

[[SOLD OUT]] eTown Live Radio Show Taping w/ Robert Earl Keen & John Fullbright

  • When: July 27, 2015 Time: 7:00 pm - 9:00 pm
  • Where: eTOWN HALL / 1535 Spruce Street, Boulder, CO 80302
  • Cost: $25 Plus Applicable Service Fees
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More than just a regular concert, eTown is a unique live experience! Audience members will watch the eTown Broadcast recorded before their very eyes, complete with performances and interviews with both of our visiting artists, as well as the eChievement Award segment, eTown's opportunity to honor everyday heroes who are doing their part to make the world a better place. You won't want to miss it!

Doors: 6:00pm
Show Start: 7:00pm
Show End: 9:00pm


Robert Earl Keen


Robert Earl Keen

Photo Credit: Darren Carroll

“The road goes on forever ...”

It’s not always easy to sum up a career — let alone a life’s ambition — so succinctly, but those five words from Robert Earl Keen’s calling-card anthem just about do it. You can complete the lyric with the next five words — the ones routinely shouted back at Keen by thousands of fans a night (“and the party never ends!”) — just to punctuate the point with a flourish, but it’s the part about the journey that gets right to the heart of what makes Keen tick. Some people take up a life of playing music with the goal of someday reaching a destination of fame and fortune; but from the get-go, Keen just wanted to write and sing his own songs, and to keep writing and singing them for as long as possible.

“I always thought that I wanted to play music, and I always knew that you had to get some recognition in order to continue to play music,” Keen says. “But I never thought of it in terms of getting to be a big star. I thought of it in terms of having a really, really good career and writing some good songs, and getting onstage and having a really good time.”

Now three-decades on from the release of his debut album — with well over a dozen other records to his name, thousands of shows under his belt and still no end in sight to the road ahead — Keen remains as committed to and inspired by his muse as ever. And as for accruing recognition, well, he’s done alright on that front, too; from his humble beginnings on the Texas folk scene, he’s blazed a peer, critic, and fan-lauded trail that’s earned him living-legend (not to mention pioneer) status in the Americana music world. And though the Houston native has never worn his Texas heart on his sleeve, he’s long been regarded as one of the Lone Star State’s finest (not to mention top-drawing) true singer-songwriters. He was still a relative unknown in 1989 when his second studio album, West Textures, was released — especially on the triple bill he shared at the time touring with legends Townes Van Zandt and Guy Clark — but once fellow Texas icon Joe Ely recorded both “The Road Goes on Forever” and “Whenever Kindness Fails” on his 1993 album, Love and Danger, the secret was out on Keen’s credentials as a songwriter’s songwriter. By the end of the decade, Keen was a veritable household name in Texas, headlining a millennial New Year’s Eve celebration in Austin that drew an estimated 200,000 people. A dozen years later, he was inducted into the Texas Heritage Songwriters Hall of Fame along with the late, great Van Zandt and his old college buddy, Lyle Lovett.

The middle child of a geologist father and an attorney mother, Keen was weaned on classic rock (in particular, the psychedelic blues trio Cream) and his older brother’s Willie Nelson records — but it was his younger sister’s downtown Houston celebrity status as a “world-champion foosball player” that exposed him to the area’s acoustic folk scene. By the time he started working on his English degree at Texas A&M, he was teaching himself guitar and setting his poetic musings to song. That in turn led to a college fling with a bluegrass ensemble (featuring his childhood friend Bryan Duckworth, who would continue to play fiddle with Keen well into the ‘90s) and front-porch picking parties with fellow Aggie Lovett at Keen’s rental house — salad days captured in spirit on the Keen/Lovett co-write, “The Front Porch Song,” which both artists would eventually record on their respective debut albums.

While Lovett’s self-titled debut was released on major-label Curb Records, Keen took the road less travelled, self-financing and producing 1984’s No Kinda Dancer and leasing it to the independent label Rounder Records, which issued it on its Philo imprint. “It was difficult, because I didn’t know what I was doing ... I literally opened up the phonebook and looked for studios,” Keen recalls. “I basically put it all together through brute force and ignorance, but I was shocked with how well it worked out and very happy with it. We had a release party at Butch Hancock’s Dixie Bar and Bustop, and Lyle and Nanci Griffith and a lot of those people who were a part of the Austin folkie scene came out.”

Keen himself had already started to make quite a name for himself on that scene, thanks to four years of constant regional gigging and winning the Kerrville Folk Festival’s prestigious New Folk songwriting competition in 1983. After his debut’s release, he began touring more and more outside of the state lines, eventually moving to Nashville in 1986. Keen’s stint in Music City, U.S.A., lasted just under two years, but he returned to Texas armed with a publishing deal, a new label (another indie, Sugar Hill), and a national booking agent. He closed the decade with 1988’s The Live Album and the following year’s West Textures, the album that marked the debut of “The Road Goes on Forever” and, not inconsequently, kicked his career into high gear.

With hindsight, Keen admits he no idea at the time of writing it that his song about a couple of ill-fated lovers running afoul of the law would have the legs it did, but he readily points to the forward thinking of DJ Steve Coffman of San Antonio radio station KRIO for helping to start the fire. “He talked the station into doing sort of a free-form programing format, basically anything he liked, which turned out to be some Texas music along with a lot of cool sort of pop music,” he says. “So all of a sudden, I heard my song back-to-back with the Sheryl Crow song that was popular at the time, and that was the first time that I really felt like I was a real part of the music business, despite having been in it already for a pretty long time. And right after that, I went to a show in San Antonio and there were 1,500 people there — whereas up to that point I’d been playing to, max, maybe 150. That was the real ah-hah moment for me that really got me going and kept me going, because before that I’d been doing this for eight or 10 years and had a lot of rejection but very little success.”

After that, though, success came in spades. Although he continued to steer clear of the Garth Brooks-dominated waters of the country mainstream, the perfect storm of Keen’s literate songcraft, razor wit and killer band (more on that in a bit) stirred up a grassroots sensation in Texas not seen since the ’70s heyday of maverick “outlaw country” upstarts Willie, Waylon, and Jerry Jeff Walker. Armed with two more albums (1993’s A Bigger Piece of Sky and ’94’s Gringo Honeymoon) brimming with instant classics like “Corpus Christi Bay,” “Whenever Kindness Fails,” “Gringo Honeymoon,” “Dreadful Selfish Crime” and “Merry Christmas From the Family,” he began packing dancehalls, roadhouses, theaters, and festival grounds with diverse crowds of rowdy college kids, serious singer-songwriter fans and plenty of folks who, like Keen himself, had been around the Texas music scene long enough to remember Willie’s earliest 4th of July Picnics. And the phenomenon was not confined to the Texas state lines. Famed producer and pedal steel ace Lloyd Maines (Joe Ely, Terry Allen) helped Keen and his band bottle lighting on 1996’s No. 2 Live Dinner, a next-best-thing-to-being-there concert document that remains one of Keen’s best-selling albums, and the burgeoning alt-country scene (bolstered by AAA radio stations across the country and magazines like No Depression) embraced Keen as one of its prime movers. In the wake of albums like 1997’s Picnic and ’98’s Walking Distance (both released on major-label Arista), one would have been hard-pressed to tell the difference between a rabid Robert Earl Keen crowd at Texas’ legendary Gruene Hall and those at New York City joints like Tramps and the Bowery Ballroom. Little wonder, then, that when the songwriter-revering “Americana” style was officially recognized by the industry 1998, Keen was the genre’s first artist to be featured on the cover of the radio trade magazine Gavin.

The ‘90s may have been a boom period for Keen, but his momentum hasn’t ebbed a bit since the turn of the century — nor has his pursuit of continued growth as a writer and artist. If anything, his output from the last decade has been marked by some of the most adventurous music of his career. “Wild Wind,” an unforgettable highlight from Gravitational Forces, his Gurf Morlic-produced 2001 debut for the Nashville-based Americana label Lost Highway, captured the character (and characters) of a small Texas town with a cinematic eye reminiscent of The Last Picture Show; but the album’s title track also found Keen wryly experimenting with spacey, beatnik jazz. For the freewheelin’, freak-flag-flying Farm Fresh Onions (2003, Audium/Koch), Keen and producer Rich Brotherton (his longtime guitarist) took the band into the proverbial garage to knock out their most rocking set of songs to date — most notably the psychedelic rave-up of the title track. Brotherton also produced the more rootsy but equally playful What I Really Mean (2005, E1 Music), but Lloyd Maines was back at the helm for 2009’s eclectic The Rose Hotel and 2011’s spirited Ready for Confetti (both released by Lost Highway). The later was especially well received by fans and critics alike, with AllMusic’s Thom Jurek raving, “Ready for Confetti is, without question, Keen’s most inspired and focused project in nearly 20 years.”

But the road goes on and on, with no time for resting on laurels. Not that Keen’s complaining. “I had a relatively open schedule for 2013 back at the beginning of the year, but it has just filled in like you wouldn’t believe,” he marvels during a rare day off in Kerrville, Texas (where he lives with his wife and two daughters). “I’ve broke my record this year — I’ve packed for five trips at one time, because I wasn’t going to be starting any of them in the same place. It’s been crazy!”

Earlier this year, Keen played a handful of sold-out theater dates with Lyle Lovett, just two old friends swapping songs on acoustic guitars like they used to do on Keen’s front porch in College Station. But the lion’s share of his concert schedule still finds him playing full-tilt with his seasoned road and studio band: Brotherton on guitar, Bill Whitbeck on bass, Tom Van Schaik on drums, and Marty Muse on steel guitar. “I’ve been with this band for 20 years now,” Keen says proudly. “I used to think that was just sort of an interesting fact, but now it’s almost a total anomaly — that just doesn’t happen much. I always felt like once you lock into the right bunch of people, you try to do the best by them that you can. So we’ve been able to stay together a long time, and I think one thing that makes it worthwhile for people to come see us as an act is the fact that it’s not like we’re trying to work it all out onstage — we’ve already worked everything out.”

As for what they’ll be working on next, well, Keen’s fans probably won’t have to wait very long. Despite the fact that 2014 will mark the 30th anniversary of his first album, No Kinda Dancer, Keen’s primary focus remains — as ever — more on the road still ahead than the road behind him.

“We take everything one year at a time,” he says, “but I am hell-bent and bound to make a record this year. I really don’t know what I have in mind as far as what it will be, but what will happen is I will go off to my ‘Scriptorium’ for three or four days to write with no distractions, and I’ll have a record by the time I’m finished. I’m locked into this idea, and I know for a fact that I’m going to get a new record out ... unless I get hit by a bus or get run over by my own bus!”

 

www.robertearlkeen.com

 



John Fullbright

John Fullbright

Photo by Kate Burn

“What’s so bad about happy?” John Fullbright sings on the opening track of his new album, ‘Songs.’ It’s a play on the writer’s curse, the notion that new material can only come through heartbreak or depression, that great art is only born from suffering.

“A normal person, if they find themselves in a position of turmoil or grief, they’ll say, ‘I need to get out of this as fast as I can,’” says Fullbright. “A writer will say, ‘How long can I stay in this until I get something good?’ And that’s a bullshit way to look at life,” he laughs.
That plainspoken approach is part of what’s fueled the young Oklahoman’s remarkable rise. It was just two years ago that Fullbright released his debut studio album, ‘From The Ground’ to a swarm of critical acclaim. The LA Times called the record “preternaturally self-assured,” while NPR hailed him as one of the 10 Artists You Should Have Known in 2012, saying “it’s not every day a new artist…earns comparisons to great songwriters like Townes Van Zandt and Randy Newman, but Fullbright’s music makes sense in such lofty company.” The Wall Street Journal crowned him as giving one of the year’s 10 best live performances, and the album also earned him the ASCAP Foundation’s Harold Adamson Lyric Award. If there was any doubt that his debut announced the arrival of a songwriting force to be reckoned with, it was put to rest when ‘From The Ground Up’ was nominated for Best Americana Album at the GRAMMY Awards, which placed Fullbright alongside some of the genre’s most iconic figures, including Bonnie Raitt.

“I never came into this with a whole lot of expectations,” says Fullbright. “I just wanted to write really good songs, and with that outlook, everything else is a perk. The fact that we went to LA and played “Gawd Above” in front of a starstudded  audience [at the GRAMMY pretel concert], never in my life would I have imagined that.”

But for Fullbright, it hasn’t been all the acclaim that means the most to him, but rather his entrance into a community of songwriters whose work he admires.
“When I started out, I was all by myself in a little town in Oklahoma where whatever you wanted, you just made it yourself,” he explains. “I didn’t grow up around musicians or likeminded songwriters, but I grew up around records. One of the most fulfilling things about the last two years is that now I’m surrounded by likeminded people in a community of peers. You don’t feel so alone anymore.”

If there’s a recurring motif that jumps out upon first listen to ‘Songs,’ it’s the act of writing, which is one Fullbright treats with the utmost respect. “When I discovered Townes Van Zandt, that’s when I went, ‘You know, this is something to be taken pretty damn seriously,’” says Fullbright. “‘This is nothing to do with business, it has to do with art and identity.’ You can write something that’s going to outlast you, and immortality though song is a big draw.”
But just as important to Fullbright as writing is careful editing. “I can write a first verse and a chorus fairly easily, and it’s important just to document it at the time and come back to it later,” he explains. “That’s the labor, when you really get your tools out and figure out how to craft something that’s worthwhile.”

Fullbright inhabits his songs’ narrators completely, his oldsoul voice fleshing out complex characters and subtle narratives with a gifted sense of understatement.

“My songwriting is a lot more economical now,” he explains. “I like to say as much as I can in 2 minutes 50 seconds, and that’s kind of a point of pride for me.”

The arrangements on ‘Songs’ are stripped down to their cores and free of ornamentation. Fullbright’s guitar and piano anchor the record, while a minimalist rhythm section weaves in and out throughout the album. That’s not to say these are simple songs; Fullbright possesses a keen ear for memorable melody and a unique approach to harmony, moving through chord progressions far outside the expected confines of traditional folk or Americana. The performances are stark and direct, though, a deliberate approach meant to deliver the songs in their purest and most honest form.

“I’m a better performer and writer and musician now, and I wanted a record that would reflect that,” he says. “We tracked a lot of it live, just me and a bass player in a room with a few microphones. The basis is a live performance and everything else supports that. I think you just get as much energy and skill as you can into a take, and then start building from there. And what we found is that you don’t have to add too much to that.”

The songs also reflect how drastically Fullbright’s life has changed since the release of ‘From The Ground Up,’ which launched him into a rigorous schedule of international touring. “Going Home” finds him appreciating the simple pleasure of heading back to Oklahoma, which he likens to The Odyssey. “When you’re gone for so long, once you know you’re headed in the right direction to your own bed and your own home, that’s one of the
greatest feelings you can have,” he says.
“I Didn’t Know” is a song he premiered live at concert hosted by Emmylou Harris & Rodney Crowell, a story he tells still somewhat incredulously, while “When You’re Here” is a somber piano love song, and “The One That Lives Too Far’ is a raw account of the strain that distance can put on a romantic relationship. “All That You Know,” which features just voice and Wurlitzer, implores listeners to appreciate what’s right in front of them, and the fingerpicked “Keeping Hope Alive” is a song of resilience through hard times.

To be sure, ‘Songs’ has its moments of darkness, tracks born from pain and heartbreak, but for a craftsman like Fullbright, there are few greater joys than carving emotion into music, taking a stab at that lofty goal of immortality through song. It makes him--and his fans--happy, and there's nothing bad about that.

 

www.johnfullbrightmusic.com