Feelin' Good Again

Legendary Texas troubadour Robert Earl Keen storms into Houston on farewell tour

Robert Earl Keen announced the end of the road earlier this year.

Photo by Melanie Maganias Nashan

The road, it seems, does not go on forever, and the party — at least the live one — is wrapping up for legendary Texas songwriter Robert Earl Keen. In January 2022, the he announced his decision in January 2022 to retire at the top of his game, and the acclaimed musician is making the most of his final touring year with a romping, rowdy set of shows across his home state of Texas.

“I’ve been blessed with a lifetime of brilliant, talented, colorful, electrical, magical folks throughout my life,” Keen shared in a video on his social media channels. “This chorus of joy, this parade of passion, this bull rush of creativity, this colony of kindness and generosity are foremost in my thoughts today. It’s with a mysterious concoction of joy and sadness that I want to tell you that as of September 4, 2022, I will no longer tour or perform publicly.”

The final leg of his final tour will kick off in Corpus Christi on August 4 and run through September 4, making stops at several Texas institutions, including visits here at Galveston’s Grand 1894 Opera House and The Cynthia Woods Mitchell Pavilion. He’ll also play ACL Live at the Moody Theater in Austin and Billy Bob’s in Fort Worth.

With a catalog of 21 albums, his band of stellar musicians, and many thousands of shows under his belt, Keen has earned living-legend status in the Americana music world. A Houston native, he grew up on classic rock and Willie Nelson records, teaching himself the guitar by the time he entered Texas A&M University. Keen co-wrote “The Front Porch Song” with fellow Texas legend and friend Lyle Lovett, which both artists recorded on their debut albums.

Keen followed in the footsteps of some of the Lone Star State’s most revered singer-songwriters, producing and financing his first album No Kinda Dancer before moving to Nashville. By the time he moved back to Texas, he had a publishing deal, a new label, and a national booking agent. He released The Live Album and West Textures, the seminal album which debuted what remains his all-time fan favorite, "The Road Goes on Forever."

Since then, two more albums, A Bigger Piece of Sky and Gringo Honeymoon, produced instant classics like "Corpus Christi Bay," "Gringo Honeymoon," "Dreadful Selfish Crime," and "Merry Christmas from the Family.” Keen’s acclaim as a writer has earned him membership in the Texas Heritage Songwriter Hall of Fame, The Texas Cowboy Hall of Fame, and the Texas Institute of Letters.

While Keen will continue to write music, host his popular podcast, support young artists, and follow his artistic muse wherever it takes him, his already-sold-out final public concert will be September 4 at John T. Floores Country Store in Helotes, Texas, followed by a fan appreciation party at the same venue on September 5.

Below is the complete list of dates and venues for his World Tour of Texas. Local presale tickets will go on sale on Thursday, May 26, from 10 am-10 pm. All tickets will be on sale Friday, May 27, at 10 am.

August 4 — Concrete Street Amphitheater, Corpus Christi
August 5 — Tobin Center for the Performing Arts, San Antonio
August 6 — KOKE Fest, Hutto
August 12 — Starlight Ranch, Amarillo
August 17-18 — Gruene Hall, New Braunfels
August 19 — The Grand 1894 Opera House, Galveston
August 20 — Texas Uprising, The Cynthia Woods Mitchell Pavilion, Houston
August 21 — Julie Rogers Theater, Beaumont
August 24 — The Factory Deep Ellum, Dallas
August 25 — Billy Bob’s Texas, Fort Worth
August 26 — Wagner Noel Performing Arts Center, Midland
August 28-29 — ACL Live at the Moody Theater, Austin
September 1 — Floore’s Country Store, Helotes (sold out)
September 2 — TBA, College Station
September 3-4 — Floore’s Country Store, Helotes (sold out)

Movie Review

Camp Miasma puts a comedic twist on the classic slasher movie

Photo courtesy of MUBI

Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

The horror genre really ramped up in the 1970s and ‘80s, bringing the slasher subgenre that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death — a transgender person who has an air conditioning vent as a head/mask — may not just be a character created for the movies.

Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference — Norma Desmond from Sunset Boulevard — to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

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Teenage Sex and Death at Camp Miasma is now playing in select theaters

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