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    RodeoHouston 2022

    Cody Johnson kicks off RodeoHouston 2022's triumphant return in sold-out opening night

    Johnston Farrow
    Feb 28, 2022 | 11:35 pm
    A tip of the hat to the small-town Texas star.
    A tip of the hat to the small-town Texas star.
    Photo courtesy of Houston Livestock Show and Rodeo

    The signs of joy and excitement were everywhere on the concourse and in the stands at NRG Stadium on Monday, February 28.

    Smiles as wide as Bud Light aluminum cans are tall, RodeoHouston made its triumphant return with an eye-popping 70,554 fans in attendance to take in the opening night of the 2022 season, the 90th anniversary of the annual event. From the ticket takers, to the elevator attendants, to the vendors and seat ushers, it felt pretty darn good to be back enjoying large scale gatherings. After nearly two years, we were all ready to celebrate live music again.

    The evening entertainment duties fell to East Texas native Cody Johnson, riding high with his first No. 1 country hit, "'Til You Can't" under his outsized, gold-plated belt buckle. Comparatively speaking, RodeoHouston 2022 closer George Strait has 60 No. 1 hits. But the measuring stick of chart-toppers didn't matter this night, the sheer jubilation of simply being back at the rodeo meant that Johnson could do no wrong over the course of his rapturously received 13-song set.

    Few country stars can claim to have lived the cowboy life they so often sing about. But Johnson, raised in Sebastapol, Texas (pop. 120), spent time on the rodeo circuit as a young bull rider before deciding to put his energy into music. To put an even bigger exclamation point on his past credentials, Johnson's daughter Clara Mae competed in the mutton bustin' event only minutes before his set.

    Coming out to melody of rodeo-themed country tunes, including Glen Campbell's "Rhinestone Cowboy," Garth Brooks' "Rodeo," and his own "Welcome to the Rodeo," Johnson played into the excitement, giving a fierce arm wave and a Texas-sized whoop. Dressed sharply in a crisp blue shirt, blue jeans and black cowboy hat, he opened with "Dear Rodeo," showing off his classic crooner pipes, pausing briefly to give a shout: "Are you ready to have a party in Houston, Texas?"

    The upbeat stomp of "Honky Tonk Hardwood Floors" from his latest album, the 2021 release Human: The Double Album, gave way to "Dance Her Home" from 2014's Cowboy Like Me. Johnson was sure to use the star-shaped stage to his advantage, the points rising 20 feet in the air towards the rafters several times throughout the show. "Do you still listen to George Jones?" he asked, referring to a line in the hit single, the crowd applauding in the affirmative.

    Before "Diamond in My Pocket" from 2011's A Different Day, Johnson let the crowd in on a major career achievement. "I want you to know you are part of a historical night," Johnson said. "In 90 years, there are only three artists with the opportunity to sell out the rodeo on opening night. George Strait, Garth Brooks and thanks to you, myself here tonight."

    But a crooner is only as good as his ballads, so he got romantic to celebrate his wife's Brandi's birthday. Removing his hat, he belted out "Nothing On You," from 2019's Ain't Nothing to It, leading a massive singalong as thousands held their cell phone flashlights aloft. "We want the rest of the United States to know that country music is alive and well!," he exclaimed.

    Following another heartstring-tugger with "Stronger" from his latest album, Johnson delivered one of the best highlights of the night in "Me and My Kind" from Cowboy Like Me, with its catchy "'Cause she's over buckles, over spurs" refrain.

    "I told myself I'm going to record an album for every fan that paid $5 for a koozie or paid for a ticket," Johnson told the crowd about heading to Tennessee to record. "We set foot down in Nashville and said we're going to deliver country music the way it's supposed to be delivered." Rapturous applause ensued, classic country fans showing their approval for the good ol' days. That opened the door to his first double platinum song on country radio, "On My Way to You" from Ain't Nothing to It.

    True to his rural Texas roots, he took the time to recognize first responders and military, making a point to pay appreciation to those who selflessly put their bodies on the line for others. It was made more poignant by the tireless struggle and heartache many faced over the last two years.

    Next up, a fiery version of Ain't Nothin' to It cut "Long Haired Country Boy," an ode to free spirits that would rather take a toke and drink a beer before listening to anyone about how to live. That gave way to a showcase for his extremely tight five-piece band with impressive solos from each player, including a wicked steel guitar freak out from Harrison Yount of Boerne, Texas, before awesomely wrapping up with a few bars from "Tom Sawyer" by Canadian prog-rock legends Rush.

    Sitting down on a stool, Johnson recalled going through emergency surgery last December to fix a neck injury sustained during his bull and horse riding days. He faced the very real possibility of losing the use of his right arm, requiring extensive work to his spinal cord and a weeks-long recovery.

    "When I say I'm happy to be here tonight, I mean that I'm very happy to be here tonight with you in Houston," Johnson said, visibly emotional while he thanked Jesus Christ and his wife Brandi for delivering him through dark times. Sitting upon a star point elevated in the air, he performed a somber but inspired "Human."

    That brought on the finale, the aforementioned No. 1 song "'Til You Can't." He acknowledged its chart placement with a grin, enthused to be playing the song on such a big stage. Johnson gave his best vocals of the evening, his band harmonizing perfectly throughout, the message of living for today resonating with those at NRG Stadium.

    True to form, the former professional cowboy rode off from the stage on horseback, stopping to wave his hat as the attendance numbers were announced. A fist pump added emphasis to the adoring 70,000-plus fans who were grateful to see him in fine form.

    Johnson kept the crowd hyped throughout the night, inviting audience participation, showcasing his talent as a top-tier professional songwriter and performer. No doubt, paying his dues on the Texas honky-tonk circuit helped him hone his live music chops, taking his full-throated twang and stage presence to the next level.

    In front of a sold-out crowd, he and his band made an argument they deserve to be mentioned in the same company as the biggest country acts working today.

    Make a bet: expect to see Cody Johnson at RodeoHouston many more years to come.

    Setlist
    "Dear Rodeo"
    "Honky Tonk Hardwood Floors"
    "Dance Her Home"
    "Diamond"
    "Build A Fire"
    "With You I Am"
    "Nothing On You"
    "Stronger"
    "My and My Kind"
    "On My Way to You"
    -First responder recognition-
    "Long Haired Country Boy"
    -Solos-
    "Human"
    "'Til You Can't"

    Johnson matched the energy of the opening night crowd.

    Cody Johnson rodeo houston 2022 opening night
    Photo courtesy of Houston Livestock Show and Rodeo
    Johnson matched the energy of the opening night crowd.
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    Creed concert review

    Creed serve up millennial nostalgia at pyro-packed RodeoHouston concert

    Craig Hlavaty
    Mar 11, 2026 | 11:54 pm
    Creed concert RodeoHouston
    Courtesy of Houston Livestock Show and Rodeo
    Singer Scott Stapp serenades the RodeoHouston crowd.

    Hello, my friend, we meet again.

    I’ve had a torrid relationship with Creed. As a circa-2000s punk rocker, it was implied that I was supposed to hate them. Nevertheless, I enjoyed those hook-laden Mark Tremonti riffs and Scott Stapp’s burly, Bono-grasping vocals, with just a hint of irony deep in the mix. I had “One Last Breath” on a burned mix CD, bunched in with Fugazi, Rancid, and Sham 69. I would skip it as quickly as I could, depending on who was in the car. Driving home from a long day slinging milk in the Kroger dairy cooler? Windows down, Stapp up.

    When I began my music journalism career 20 years ago (!!!), I began sticking up for them, much to the consternation of a lot of my fellow writers who were hung up on stuff that was supposed to be cooler and hipper. Creed’s pop-culture zenith came right as The Strokes and The White Stripes were thrust on us by the music press as a counter to post-grunge, which other music writers were categorically allergic to. Remember when our biggest problems in America were bands that were overtly influenced by Pearl Jam and Alice In Chains?

    In 2012, I interviewed lead singer Scott Stapp along the way for the Houston Press, and I distinctly recall Stapp being confused on our call that a guy from a smug alt-weekly wasn’t asking him stupid questions or making fun of his leather pants. The band was heading to Houston for a two-night stand at the Bayou Music Center in 2012 when they played 1997’s “My Own Prison” and 1999’s “Human Clay” in their entirety.

    Fun fact: “Human Clay” has sold over 20 million albums alone, besting Nirvana’s “Nevermind” and Pearl Jam’s “Ten” by only a relatively small margin. Creed moved more physical CDs when people actually bought music.

    Somehow, along the way, people stopped hating Creed and Nickelback, and the hate gave way to pre-social media, millennial high school, and pre-9/11 nostalgia. The similarly maligned Nickelback sold out the rodeo in 2024.

    On Wednesday, March 11, I saw junior high school kids wearing crispy new Creed shirts with their parents. Gen Alpha is beginning to get curious about what mom and dad were up to during spring break 2001, and Zoomers are rediscovering Y2K fashions. Haven’t you seen those “Mom, What Were You Like In The ‘90s?” memes?

    Creed has been sold out for weeks, drawing 70,007 attendees. If you had told someone 10 years ago that Creed would sell out RodeoHouston, they would have been skeptical. And yet here we are, staring down at a sold-out Creed show. These things run in cycles. Emotions fade. Annoyance turns into wistfulness for the days of Nokia brick phones and 99-cent gas. You can even go on a Creed Cruise now.

    Creed hit the stage just before 9:30 pm, an enviable bedtime for most elderly millennials, kicking off with the TOOL-chugalug of “Bullets,” with Stapp and Tremonti making the best use of their stage platforms, crucial devices for any major rock band in the 2000s. Unrelenting pyro shot from the dirt surrounding the stage every time Stapp lifted or flailed his arms like Elvis if he discovered cardio.

    The dirge of “Torn” — the second single from My Own Prison — was pyro-less, likely giving the cannons a few minutes to cool off. The sweaty Stapp, at just 52, looks to be in better shape than he did 20 years ago, now sporting a conservative haircut like he stepped out of his company’s stadium suite or finished a twilight run at Memorial Park.

    Stapp introduced “My Own Prison” with a preachery pep talk that wouldn’t sound out of place at an altar call at Sturgis. The crowd hung on every emphatic word. Maybe seeing two middle-aged dudes wearing Stryper shirts down on the concourse made more sense than I realized. Is Creed actually just TOOL that accepted Christ? The graphics behind the band could’ve fooled me.

    Stapp introduced “One” with a speech on commonalities and love. Looking back, Creed’s lyrics were much too earnest, hitting at a time when critics were still hungover from grunge.

    During “With Arms Wide Open,” the rodeo cameras would routinely cut to tattooed dads and rocker chicks in the crowd playing air guitar along with Tremonti and singing their guts out like they did the first time they heard it on 94.5 The Buzz. For a large segment of the crowd, they might have had a Gen-X parent jamming this stuff on the way to school in the morning.

    “Are you ready to get higher in here, Houston?” Stapp yells. The place erupts as “Higher” starts. Stapp was in his element, pyro shooting off, his silver jewelry dangling, taking in the crowd, like he didn’t expect such a response.

    Possibly the last true rock power ballad ever recorded, “One Last Breath,” got the biggest screams of the night; it might also be the Gen-Z “Don’t Stop Believing” as long as we’re making wildly controversial statements. [Editor’s note: Isn’t that Mr. Brightside? -ES]

    Welcome back, Creed, from pop-culture purgatory, and props for what might have been the loudest RodeoHouston show in years.

    SETLIST

    Bullets
    Torn
    Are You Ready?
    My Own Prison
    What If
    One
    With Arms Wide Open
    Higher
    One Last Breath
    My Sacrifice

    Creed concert RodeoHouston

    Courtesy of Houston Livestock Show and Rodeo

    Singer Scott Stapp serenades the RodeoHouston crowd.

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