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    Live Music Now

    These are the 7 best shows to see in Houston this week

    Johnston Farrow
    Johnston Farrow
    Feb 22, 2018 | 2:52 pm

    The first half of the next week in live music is a relatively calm one, as if the city is bracing for the storm that is the greatest show on dirt: RodeoHouston.

    Three weeks of nightly concerts will feature the best that country music has to offer with the sprinkling of pop, soul and Latin acts thrown in for good measure. Add a brand new, state-of-the-art Stars Over Texas stage with double the lights and the best sound system money can buy and you get one of the most sought after events of the year in this fine city, attracting a few million attendees with an affection for tight denim jeans and leather boots.

    The party kicks off with the inarguably the biggest country star ever, Garth Brooks, who will christen the star-shaped stage on Tuesday, February 27. He’ll also close out RodeoHouston on Sunday, March 18. With no new album to promote, expect Brooks to bring the hits hard and heavy. Because you haven’t lived until you've sung "Friends In Low Places" with 75,000 country fans.

    Homewood, Alabama’s finest C&W band, Little Big Town, will bring their two dozen country hits to the Stars Over Texas stage on Wednesday night. Not to be outdone, The Voice judge and Gwen Stefani fiancé Blake Shelton, will trot out his collection of No. 1 hits – 17 consecutive, which is just insane – on Thursday, March 1.

    Rodeo Houston starts Tuesday, February 27 and runs through March 18 at NRG Stadium, 1 NRG Parkway. Tickets are available on the RodeoHouston website and resale market. All three shows start at 6:45 pm, but get there early for some Rodeo action.

    Best blues show of the week
    Beth Hart made a name for herself in the late-’90s, early-2000s with a pair of excellent pop albums, 1999’s Screaming for My Supper and 2003’s Leave the Light On, even touching the cultural zeitgeist by appearing on an episode of Beverly Hills, 90210, where she performed "LA Song (Out of this Town)," a piano-ballad that fit next to the Vanessa Carlton and Michelle Branch types of that time.

    But her secret weapon last has extended her career is her powerful, smoky vocals that she paired with blues guitar virtuoso Joe Bonamassa (who opened for B.B. King when he was 12 years-old), scoring them both a Grammy nomination in their time together. Simply put, Hart can wail up a storm and Bonamassa’s dirty licks are some of the best you’ll hear this side of the Mississippi Delta. The two together are simply magic. Their latest, the recently released Black Coffee, may be their best album yet.

    Beth Hart performs vocal acrobatics at the House of Blues, 1204 Caroline St., Saturday, February 24. Tickets start at $31 plus fees. Doors open at 7 pm.

    Best example of solo, eclectic indie-folk
    Fans of Pitchfork flavored folk-rock will get a thrill out of seeing two revered cult acts performing together. Vetiver lead singer Andy Cabic and Fruit Bats Eric D. Johnson will each play a solo set at McGonigel’s Mucky Duck, stripped down versions of their whimsical and melodic indie-folk that brought them both notoriety in the mid-2000s. Vetiver is the stranger of the two (see 2004’s self-titled debut), while Fruit Bats make more traditional indie as on 2016’s great Absolute Loser. Both have direct influences on each other as Johnson spent some time playing in Cabic’s band. This will be a fun, unique show.

    Vetiver and Fruit Bats bring the eclectic folk to McGonigel’s Mucky Duck, 2425 Norfolk St., Saturday, February 24. Tickets start at $20. The show starts at 7 pm.

    Best chance to hear the Sia second coming
    Fans of Sia will love Ella Vos. The Los Angeles-based chanteuse creates atmospheric, intimate songs of longing and heartache that feature just enough bouncy syncopation to make it a head nodding delight. Find out why Rolling Stone named her an artist to watch as she brings songs from her worthy 2017 offering, Words I Never Said, to Warehouse Live.

    The enchanting Ella Vos performs at Warehouse Live Studio, located at 813 St. Emanuel Street, Sunday, February 25. Sharaya Summers opens. Tickets are $15 plus fees. Doors open at 7 pm.

    Best chance to hear that one song on the radio
    Remember Stabbing Westward? The band that made a small dent in the late-’90s by aping Depeche Mode synth and Nine Inch Nails angst? AWOLNATION is sort of like that, but for today’s rock radio — interesting enough to not change the channel, but not quite great enough to download the album. But hey, if you’re into that sort of thing, the Nothing But Thieves tour could be something to see. Just don’t tell me “Hollow Moon (Bad Wolf)” isn’t a total rip-off of the 1997 Savage Garden hit “I Want You.”

    AWOLNATION sails into the Revention Music Center, 520 Texas St., Thursday, March 1. Nothing But Thieves opens. Tickets start at $25. Doors open at 7 pm.

    Country legend Garth Brooks will kick off the 2018 edition of RodeoHouston on Tuesday, February 27.

    Garth Brooks at Toyota Center
    Photo by J. Thomas Ford
    Country legend Garth Brooks will kick off the 2018 edition of RodeoHouston on Tuesday, February 27.
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    Movie Review

    Glen Powell delivers sly laughs in satirical How to Make a Killing

    Alex Bentley
    Feb 19, 2026 | 4:15 pm
    Glen Powell in How to Make a Killing
    Photo courtesy of A24
    Glen Powell in How to Make a Killing.

    Becoming a star in Hollywood and maintaining that stardom are two very difficult things to achieve, but Glen Powell has been adept at doing so over the past few years. A key supporting role in Top Gun: Maverick led to lead parts in films like Hit Man, Anyone But You, Twisters, and The Running Man. Powell is looking to keep his star power shining in the new dark comedy/thriller, How to Make a Killing.

    He plays Beckett, an outcast member of the ultra-wealthy Redfellow clan. Struggling to get by in a menial job in New York City while still living in New Jersey, Beckett’s only smidgen of hope is that he remains an heir to the vast Redfellow fortune. The only trick? Every other remaining family member must die before he’ll see a dime of that money. When even that menial job goes away, Beckett indulges the fantasy of bumping off his familial competition.

    Among those standing in his way are cousins Taylor (Raff Law), a finance bro, Noah (Zach Woods), a pretentious artist, and Steven (Topher Grace), a celebrity pastor; Uncle Warren (Bill Camp) and Aunt Cassandra (Bianca Amato); and grandfather Whitelaw (Ed Harris). Complicating matters, however, are an old childhood friend, Julia (Margaret Qualley), who starts asking more of Beckett than he can give; and new flame Ruth (Jessica Henwick), who happens to be dating Noah when he meets her.

    Written and directed by John Patton Ford (Emily the Criminal), the film is a tale of two halves. Narrated by Beckett in the form of telling his story to a prison chaplain, the story plays with audience expectations on multiple occasions. As Beckett ramps up to detailing exactly how he got started down the road toward being a serial killer, the film has a fun-if-macabre vibe.

    Under normal circumstances Beckett would be someone to despise, but since he’s an underprivileged person who’s taking aim at people who (mostly) don’t seem to appreciate their good luck, it feels okay to cheer for him. This follows a recent trend in “eat the rich” films, one that’s been influenced by a turn against real-life billionaires. Ford plays heavily into the theme and it works for a good portion of the film.

    However, things get a little murky in the second half of the movie. A few of the planned killings get less attention than others, making their — pardon the pun — execution less interesting/fun than the others. Also, Ford does a poor job of indicating just how much weight should be put on Beckett’s relationship with Julia, someone with whom he only has occasional interactions for the bulk of the film.

    It’s difficult to know the exact right way to showcase Powell, but this film doesn’t seem to be the best fit. Whether it’s the odd hairstyle/wig he’s given, or the varying degrees of confidence his character shows, his performance is up and down. Qualley’s acting style is over-the-top, and she needed to dial it down in this particular role. Henwick and Camp are the grounding forces in the film, keeping the story somewhat tethered to reality while almost everyone else makes a meal of their scenes.

    How to Make a Killing is serviceable entertainment that gives viewers a decent number of laughs and thrills. But Ford can’t find a way to make the story work all the way through, and a so-so performance by Powell keeps the film from rising above its mediocre station.

    ---

    How to Make a Killing opens in theaters on February 20.

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