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    Live Music Now

    These are the top 6 must-see concerts in Houston this week

    Johnston Farrow
    Johnston Farrow
    Apr 10, 2018 | 8:00 pm

    This is easily one of the best weeks in music in Houston — in terms of sheer selection and star wattage; music fans will be busy. Here are this week's best shows.

    Best dance party in the Bayou City
    Los Angeles via Brooklyn indie-dance duo Matt and Kim built a positive reputation and a successful career off their high energy shows, consisting of only a keyboard and drums and two very enthusiastic performers. While seemingly underwhelming on paper, the charisma of Matt Johnson and Kim Schifino make it work, drawing audiences worldwide into their very own private dance party. Expect to hear new tracks from their upcoming sixth album, Almost Everyday, and songs that you assuredly heard via car commercials or at their last Houston appearance at Free Press Summer Fest in 2016. For more, read our CultureMap interview with Matt here.

    Matt and Kim will have the audience pogoing at White Oak Music Hall, located at 2915 N. Main St., on Friday, April 13. CRUISR and TWINKIDS open. Tickets are $30 in advance plus fees. Doors open at 8 pm.

    Best nostalgia trip of the week
    Fans of '90s rock, rejoice! Sponge​, underrated alt-rock band of yesteryear returns to Houston to perform the sweet, sweet platinum-selling album Rotten Pinata in it's entirety at the Scout Bar this Saturday. While some of it has definitely aged as much as the band has, the hits still hold up, including the riff-tastic "Plowed" and acoustic-driven ballad "Molly (Sixteen Candles)." The Detroit act may be well past their heyday, but for those who made modern rock radio a must-listen nearly 25 years ago, this will be a fun trip down nostalgia lane.

    Sponge relives the '90s at Scout Bar, located at 18307 Egret Bay Blvd. on Saturday, April 14. 5 Dollar Thrill, Empty Shells, Seven to Emote, Luna Lunacy open. Tickets start at $14 in advance. Door open at 7 pm.

    Old meets new, jazz meets modern pop
    Bust out the fedoras, suspenders and flapper dresses and get ready to dance, old school style with a new school twist. Take the biggest and best songs from the last twenty years and filter them through the lens of swing, ragtime and New Orleans jazz and you have Scott Bradlee's Postmodern Jukebox. Whether it's a Bille Holliday-esque take on the White Stripes' "Seven Nation Army," a 1920 waltz of Radiohead's "Creep," or a jazzy ragtime version of Oasis' "Don't Look Back and Anger," fans of all genres will find something to like from this performance.

    Scott Bradlee’s Postmodern Jukebox performs at House of Blues, located at 1204 Caroline St., on Sunday, April 15. Tickets start at $35 plus fees. Doors open at 7 pm.

    The '80s meets future sexy funk sounds
    The smartest duo in all of music, Chromeo brings it's '80s-indebted electro funk to Houston. Founded in 2002 by David "Dave 1" Macklovitch and Patrick "P-Thugg" Gemayel, the former holds his PhD in French Literature and has lectured at Columbia University, with the former an accountant when not rocking the synths on stage. Together, they have combined the smooth A.M. radio sounds of Hall and Oates and Prince with four-to-the-floor beats and slinky basslines, with a knowing wink to the past — while embracing futuristic sounds. The world-touring act will likely be dropping new tracks from their upcoming 2018 album, Head Over Heels.

    Chromeo brings the electro-funk to House of Blues, located at 1204 Caroline St., on Wednesday, April 18. Phantoms & Wrestlers open. Tickets start at $33 plus fees. Doors open at 7 pm.

    The Foos in HOU
    You got to give it to the affable rocker Dave Grohl, the man's a survivor. Following the suicide of Kurt Cobain and dissolution of Nirvana, undoubtedly the most influential band of the last 25 years, Grohl picked up the pieces and formed the Foo Fighters, which has gone on to produce more hits than his former band. The Foos bring their Concrete and Gold Tour to Houston, promoting the 2017 album of the same name. If you haven't purchased tickets yet, get on it — this one has a good chance of selling out.

    Foo Fighters and their catalogue of alt-rock hits come to the Cynthia Woods Mitchell Pavilion on Thursday, April 19. The Struts open. Tickets start at $45 for the lawn, $99 for seated and pit. Doors open at 6 pm.

    A big country star in an intimate venue

    It's a rare occasion when country fans get to see a multi-million album selling artist perform in a venue that holds a few hundred people. Nashville roots star Lee Ann Womack makes a rare intimate stop at the Heights Theater this week as part of her All the Trouble tour. She has won Grammys, Country Music Awards, and sung for Presidents, and now touring her latest acclaimed album, The Lonely, the Lonesome, and the Gone, which she recorded in this fine city's SugarHill Recording Studios. For those who love old school country, sung in the classic Nashville style, this is a must-see show. Move quickly on tickets - standing room and VIP seats are all that's left.

    Lee Ann Womack performs at the Heights Theater, located at 339 W. 19th Street, on Thursday, April 19. Vandoliers open. Standing room tickets are available at $28 in advance plus fees. Doors open at 7 pm.

    Montreal electro-funk duo Chromeo performs at House of Blues on Wednesday, April 18.

    Chromeo
    Photo by Tim Saccenti
    Montreal electro-funk duo Chromeo performs at House of Blues on Wednesday, April 18.
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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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