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    Kid Rock Rules

    Kid Rock rules at raucous Rodeo concert with badass rock 'n' roll, turntable and flames

    Reid Schroder
    Reid Schroder
    Mar 16, 2016 | 6:14 am

    Kid Rock, you crazy rock 'n' roll animal. You won me over with a turntable and flames. I knew this was going to happen the second you blindfolded your lead guitar player while he was tearing into the solo of “All Summer Long,” and that was only a song and a half in. You were grinning in that fedora that you like to flip the brim up like you belonged in Run-D.M.C.

    I was afraid that you were going to play a lot of those newer songs you’ve taken to writing lately. You know, the ones that sound a little too country for an American Badass like yourself? You opened up with “First Kiss,” and to be perfectly honest, the years of Jim Beam and cigars have not been kind to your vocal chords.

    After that first song, I thought for sure the night was going in the wrong direction and that the closest we would get to seeing the Kid Rock of old would maybe be the obligatory run through “Cowboy” sprinkled in with a string of new songs that lacked the requisite bravado that we all came for.

    Boy howdy was I wrong.

    You and your crowded band full of backup singers, saxophonists, interpretive dancers, and other musicians took the audience — and by proxy America — to heights previously only navigated by bald eagles.

    I wanted to leave my seat and grab a beer, but I couldn’t take my eyes off the stage for fear of missing some of the fun. I thought I saw an opening in the set list after you performed “Picture,” a riveting duet you recorded with Sheryl Crow and Allison Moorer. I could not have been more wrong. A song I didn’t recognize on the set list called “Three Sheets To The Wind” ended up being the high point of the entire night!

    “Three Sheets” introduced his alter ego Bobby Shazam to the NRG stadium crowd of 66,540, a DJ who specializes in expertly chopping up what else but Kid Rock records on the turntable. I didn’t realize that Bobby Shazam was you until he took a giant slug from a glass of Jim Beam, but when that happened and the crowd lost it, I really wish I’d had a beer in my hand to toast your showmanship.

    Of course, you had much more in store during that song. You play drums too? You own one of those talk boxes for your guitar? I hoped the song would go on for the rest of the night. Kid Rock, you really know how to own the moment.

    I’m glad the show moved on, though. Less time showcasing your multi-instrumentalist chops means more time getting to the real meat of your career. “Cowboy,” “Only God Knows Why,” “Rock and Roll Jesus,” “Born Free.” These are the stuff fireworks are made of, and you brought plenty of that too.

    The amped up way you tore into “Only God Knows Why” was much different than the steely ballad on 1998's Devil Without a Cause, but Tuesday night’s performance absolutely called for it.

    Even after glittery bursts of pyrotechnics punctuated most of your set, I was still taken by absolute surprise when the perimeter of the stage went to full on flame throwing mode for your set list closer, “Bawitdaba.” Those fireballs were so big, so powerful, that I could feel the heat on my face from my seat in section 549. I couldn’t look away. As you brought the house down with that deliciously ridiculous blend of rap and metal that made you famous, it looked like a nuclear war zone on the field.

    Why oh why did you get a Tuesday night billing at RodeoHouston this year? You sent too many rowdy fans out of the stadium and back into the middle of their work week instead of the great American wild of a Spring Break weekend. Was it because this was the second time you lit a cigar on stage? I promise I won’t tell anyone about that if it means you get to play on a Friday the next time you visit NRG Stadium.

    Set List:

    First Kiss

    All Summer Long

    Wasting Time

    Johnny Cash

    Cowboy

    Picture

    Three Sheets To The Wind

    Rock and Roll Jesus

    Only God Knows Why

    Born Free

    Bawitdaba

    There were a lot of fireworks at the Kid Rock concert Tuesday night.

    Kid Rock at Rodeo Houston
    © Michelle Watson/Catchlight Group
    There were a lot of fireworks at the Kid Rock concert Tuesday night.
    musicrodeohouston-rodeoconcerts
    news/entertainment

    Movie Review

    Over-the-top thriller The Housemaid revels in camp, chaos, and excess

    Alex Bentley
    Dec 22, 2025 | 6:00 am
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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