WASHINGTON – In a couple of weeks, Bruce Springsteen will turn 75.

His hair might be lighter and health setbacks more frequent, but not even age can quash his unabashed zeal when he steps onto a stage, clutching the neck of his recognizable butterscotch-hued guitar and belting the first of many, “One, two, three, fah!”s.

Also celebrating a September milestone: the “heart-stopping, pants-dropping, house-rocking, earthquaking, booty-shaking, Viagra-taking, lovemaking – le-gen-dary E Street Band,” as the merry band of musical musketeers is introduced by their boss.

Though only bassist Garry Tallent remains from Springsteen’s early band in 1972, a mighty pack of E Streeters – drummer Max Weinberg, guitarist Nils Lofgren, pianist Roy Bittan and colorful consigliere/guitarist Steven Van Zandt – have shared the stage with Springsteen since being christened for a street in Belmar, New Jersey, 50 years ago this month.

So it was only appropriate that a dozen songs into Springsteen's typical marathon three-hour show Saturday at Nationals Park (a makeup date from last summer’s tour postponement), the Motown-esque brass that powers “The E Street Shuffle” blasted from the stadium stage.

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Springsteen revived the rollicking rocker that introduces 1973’s “The Wild, the Innocent & the E Street Shuffle” album when this ongoing world tour commenced in February 2023, a subtle nod to the band’s legacy as well as a showcase for Weinberg’s breathless sticks work.

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A communal spirit soars at a Springsteen show

But here’s the thing: Even if Springsteen is having an off night (he wasn’t) or the E Street Band muffs a cue (they didn’t) or the set list doesn’t include everyone’s pick for “Springsteen’s best song” (debatable) … it doesn’t matter.

The feeling of solidarity at a Springsteen concert is matchless.

Whether it was the opening “Seeds” – an infrequently played track from Springsteen’s 1986 live box set – or the houselights-up encore of “Born to Run,” the 40,000-plus fans packing the stadium sang as a cohesive congregation worshipping at Springsteen Chapel.

The communal spirit is different, stronger at a Springsteen show, both in the crowd and on the stage.

Watching saxophonist Jake Clemons – who replaced his revered uncle Clarence after his death in2011 – lean an elbow on Springsteen’s shoulder and grin as they played “Prove It All Night” or Springsteen and Van Zandt mug for the cameras with wide eyes and guitar notes rocketing to a frenzy during “Rosalita (Come Out Tonight)” epitomizes the camaraderie of the E Street Band.

But observing the audience throughout the show – some giddy bros taking selfies, moms and teens alike shouting the words to “Hungry Heart” as Springsteen mingled among them, hardcore fans reciting the words to a recast “Atlantic City” – is as heartening as hearing these durable songs.

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Why Bruce Springsteen will never retire

As usual for a Springsteen show, the first half is contemplative, filled with probing lyrics (“Darkness on the Edge of Town,” “The Promised Land,” “Long Walk Home”) and camera close-ups of Springsteen’s furrowed brow and cocked eyebrow, indicators of how deeply he still feels these songs.

The latter part of the show is a barroom bacchanal of finger-waving, chorus-belting anthems (“Badlands,” “Thunder Road,” “Tenth Avenue Freeze-Out”). These songs still resonate, whether the middle-aged malaise treaty wrapped in a bow (“Dancing in the Dark”) or the perfect-song-for-the-moment written as a post-9/11 resurrection (“The Rising”), but the drums beat a little harder and the choruses grip a little tighter.

Through it all, the focal point is always the unassuming guy and his guitar, dressed on this night in a spiffy tie and vest to rival his drummer’s – they could moonlight as the law firm of Springsteen and Weinberg – and conjuring gritty vocals and robust yells.

There is always the feeling when witnessing our remaining legends that this could be the last tour, the last visit to your city, the last time.

But watching Springsteen sweat, snarl and smile as he tears through nearly 30 songs, one gets the feeling he will need to be dragged off stage by the belt loops of his jeans rather than retire.

Church may now continue.