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    Bring the Energy

    Electrifying Florida Georgia Line revs up wild Rodeo crowd — seat stealers included

    Reid Schroder
    Mar 20, 2014 | 6:22 am

    Since this is my last appearance at the 2014 RodeoHouston season in our rotating lineup of reviewers, I'm going to let you folks in on a shameful secret I have been keeping all month long; I have been poaching empty seats in section 106. I do it as a way of embedding myself in the audience and gauging the mood of the crowd, and I have never felt guilty about it because I've never been asked to move. Someone's got to sit there, right?

    Gearing up for Florida Georgia Line tonight, I was asked to move. A lot. I moved five times total, and ended up watching the sold out concert from the standing room only section where I still got asked to moved.

    For 11 high-energy songs, singers Tyler Hubbard and Brian Kelley played Reliant Stadium like it was the most important show of their career.

    Clearly, a special sort of chemistry between the paying audience of nearly 75,000 and the American Country pop duo was in the works.

    For 11 high-energy songs, singers Tyler Hubbard and Brian Kelley played Reliant Stadium like it was the most important show of their career. It doesn't matter that songs like opener "It's Just What We Do" and hillbilly anthem "People Back Home" sound like Kid Rock knock-offs the more you spend time with them, or that rodeo purists like me would usually cringe at the thought of cutting up a vintage George Strait tour T-shirt like into spring break tank top chic — what matters is that the guys in this band absolutely sold the hell out of this show to the audience of 74,880.

    Hubbard and Kelley proved to Houston that a rodeo performance is something that only gets better the more you own it, and they clearly want the headliner spot next year.

    It took less than two songs for entire sections of Reliant Stadium to get on their feet and rise for a standing ovation during the introduction to "Party People," then remain out of their seats throughout the set. Cell phones served as tech-age lighters during "Shine On," and what I estimate as roughly 500 smart phone photos a minute were uploaded to the Internet during the frequent photo opps that Hubbard and Kelley gave fans in the dirt and on the rails. Everything about this show added up to that rare occasion when light, sound, and movement on such a large scale work together to create a universal energy felt by all in the immediate vicinity.

    "This isn't a country thing. This is a damn Houston thing."

    The guys in the band seemed genuinely humbled by this reception throughout the show, telling Houstonians and traveling rodeo attendees that this was the biggest show they've ever played. "This isn't a country thing. This is a damn Houston thing," marveled Hubbard before diving into "Round Here," the group's third consecutive single to make it to Billboard's Country Airplay chart. Nothing seemed scripted, and the group would have no doubt played until midnight if they could.

    How appropriate that Florida Georgia's high energy show capped off a night that saw Colorado Bull Rider Tyler Smith tie the RodeoHouston bull riding record with a 94, a calf scrambler incur a bloody nose after wrestling an extra wily calf, and one of the closest endings to a chuck wagon race I've ever seen.

    To all five of you in attendance who briefly felt wronged by me tactlessly trying to poach your seat, I'm happy that you kicked me out and had a great place to enjoy the show. You deserve it. And besides, standing room only is the way to go on a night when nobody in the building would even dream of sitting down.

    Set List

    It's Just What We Do

    Party People

    Shine On

    Round Here

    Tell Me How You Like It

    People Back Home

    Stay/Grenade

    This Is How We Roll

    Dayum Baby

    I'm In A Hurry

    Cruise

    Florida Georgia Line in concert at the Houston Rodeo.

    Photo by © Michelle Watson CatchLightGroup.com
    Florida Georgia Line in concert at the Houston Rodeo.
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    news/entertainment

    Movie Review

    Twin sisters set out for revenge in Tarantino-esque film 'Is God Is'

    Alex Bentley
    May 15, 2026 | 10:00 am
    Kara Young and Mallori Johnson in Is God Is
    Photo by Patti Perret
    Kara Young and Mallori Johnson in Is God Is.

    The revenge story is one of the most enduring in all of cinema as it can be adapted to multiple different genres. It most naturally fits in the action/thriller genre, but comedies, dramas, Westerns, and more have made good use of characters seeking revenge. The new film Is God Is demonstrates that malleability by detailing an intensely personal story that turns into something bigger.

    Twins Racine (Kara Young) and Anaia (Mallori Johnson) have lived a difficult life, going in and out of foster care and forced to endure stares and taunts because each bears burn scars from a childhood attack. Racine, whose scars are “only” on her left arm, has developed into the protector of Anaia, who suffered burns over much of her face.

    An unexpected call from their mother, Ruby (Vivica A. Fox), who was burned almost beyond recognition in the attack, gives them a purpose: Seeking revenge on the man who ruined their lives. Setting out in a barely working car and with only a small amount of direction, the sisters attempt to fulfill the mission without losing their souls.

    Written and directed by first-time feature filmmaker Aleasha Harris, the film may remind some viewers of Quentin Tarantino’s Kill Bill, and not just because Fox has small roles in both films. Harris has a knack for dialogue, especially between the twins, that ably gets across the story exposition and entertains at the same time. There are many instances where she has the sisters hold silent conversations told on screen via subtitles to convey twin-speak, a method that deepens their connection and draws the viewer in.

    Harris also has her characters engage in the type of shocking violence that Tarantino has used to great effect. The difference here, though, is that even though the story is heightened to a certain degree, the egregious nature of the crime perpetrated upon the girls and their mother makes the whole thing feel bracingly real. This revenge plot is not meant to merely entertain; it’s designed to put the audience in Racine and Anaia’s shoes and fully embrace the call for justice.

    There are a few times when the lack of experience by Harris shows up, especially in the climactic sequence where the stunt work could have used some more precision. But overall, it’s a self-assured filmmaking debut for the playwright-turned-director, who’s adapted her own play with a richness and depth that is not often found from someone stepping behind the camera for the first time.

    Young and Johnson don’t especially look alike, but they embody the essence of twin sisters, and it’s their chemistry together that makes the story as impactful as it is. They’re joined by other strong female performances by Fox, Erika Alexander, and Janelle Monáe, each of whom brings a different vibe. And anyone who loves This is Us or Paradise should prepare themselves for a completely different kind of role for Sterling K. Brown.

    Is God Is uses a variety of inspirations for its storytelling, but in the end it becomes its own thing. The filmmaking world can always stand to have another strong Black voice, and Harris has made an auspicious debut, one that should have cinephiles wondering what she’ll do next.

    ---

    Is God Is opens in theaters on May 15.

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