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    Music Matters

    This Week in Music: Top 10 concerts in Houston (and Galveston, too)

    Johnston Farrow
    Johnston Farrow
    Oct 12, 2017 | 12:00 pm

    Pop, rock, country, hip-hop, alternative, and more, a week hasn’t gone by in this fair city without a single music fan having a legitimate live show to call their own over the last few months. This week is no different with a mix of exciting acts old and new visiting stages across Houston. Here are the 10 best shows to see over the next seven days.

    Friday, October 13
    Swedish chart-topper Tove Lo makes a Houston pit-stop between ACL Festival slots at the House of Blues on Friday. Like any great female pop-star, Tove Lo keeps it real, preaching a message of female empowerment with solid hooks, bold sexuality and a dynamic live set that will include hit songs “Talking Body,” “Cool Girl,” and “Habits (Stay High),” which has the distinction of being the only song about visiting sex clubs to hit No. 2 on the Billboard charts. Daye Jack opens. Tickets start at $25. The show starts at 7 pm.

    Saturday, October 14
    Country music fans will get their fix at the ZiegenBock Music Festival at Sam Houston Race Park Saturday with a full day of rootsy, acoustic driven performances by Josh Abbot Band, Whiskey Myers with Shooter Jennings, Jamestown Revival and more. The most interesting performer on the line-up is Aaron Lewis, lead singer of dark, moody rock band Staind, who has been achieving success as a solo balladeer on the country circuit, gaining crossover with his recent, powerful cover of Simon & Garfunkel’s “Sound of Silence.” Tickets start at $29.50. Gates open at 11 am.

    In a surely coincidental but dramatic bit of programming, Toronto’s thrilling avant garde, noise-driven dance act Crystal Castles play at White Oak Music Hall. Crystal Castles, led by Ethan Kahn, replaced enigmatic lead singer Alice Glass after a messy breakup with Edith Frances in 2014. Amazingly, Glass, who has been touring with Marilyn Manson, will be at the Bronze Peacock at House of Blues the following night behind her solo, self-titled album. Crystal Castles, touring behind 2016 release Amnesty (I) will open with the wonderfully named Farrows and Tee Vee. Tickets are $25 in advance, show starts at 8 pm. Alice Glass tickets are $17 in advance, show starts at 7 pm.

    Sunday, October 15
    Austin indie-rock torchbearers Spoon will also trek down Highway 290 following their Saturday main stage evening set at ACL behind their latest, the acclaimed Hot Thoughts at House of Blues. Spoon has made an indelible mark on the musical landscape thanks to expertly produced classics such as mid-2000s albums Kill The Moonlight and Ga Ga Ga Ga Ga and Hot Thoughts ranks right up there with another set of dancefloor worthy bangers, sung by the rock heartthrob Britt Daniel. Tickets are $35-$55. I Love You But I’ve Chosen Darkness opens. Show starts at 7 pm.

    You haven’t lived if you haven’t taken the one-hour drive down the Gulf Freeway to Galveston, spent an afternoon on the beach or on The Strand or taken in a show at the exquisite Grand 1894 Opera House. Surf-rock luminaries The Beach Boys will play this Sunday at the gorgeously built venue – there isn’t a bad seat in the house – and while they’ll be without lead songwriter Brian Wilson, Uncle Jesse himself, John Stamos has been making appearances behind the drum-kit during recent tours. Tickets to both shows are sold out. Show starts at 7 pm.

    Monday, October 16
    Canadian indie act with East Coast roots – shout out to Nova Scotia and Prince Edward Island – Alvvays has made two gorgeous albums of melancholy bubblegum dream pop and if the world had a better sense of music taste, they’d be megastars. Recalling the best years of Belle and Sebastian and Teenage Fanclub, Alvvays’ Antisocialites may just be the best album of the year. A band for those who love music (check out the earworm, “Marry Me Archie” from their 2014 debut as proof of their magic), the quartet’s appearance at White Oak Music Hall will be a treat. Nap Eyes opens. Tickets are a reasonable $15 in advance/$20 at the door. Show starts at 7 pm.

    Tuesday, October 17
    Those needing a little spectacle will surely appreciate The Weeknd’s Starboy World Tour when it comes into Toyota Center. The Toronto R&B pop star made huge waves with the No. 1 2015 hit “Can’t Feel My Face,” which led to another No. 1 collaboration with Daft Punk on “Starboy.” The guy is untouchable right now. Nav and French Montana will open. Tickets start at $39.75. Show starts at 7 pm.

    Wednesday, October 18
    Famed Bristol, U.K. trip-hop star Tricky will attract those who are fans of thick, green smoke at shows – that’s not the fog machine, folks – when he comes to White Oak Music Hall. While he’s been hit or miss lately, Tricky’s ‘90s tentpole albums Maxinquaye and Pre-Millennium Tension were world-beaters and brought the sound of one of the coolest sub-genres to audiences everywhere. Tickets are $25. In The Valley Below opens. Show starts at 7 pm.

    Say what you want about Macklemore, the Seattle rapper has been at the forefront of social issues over the course of his career, touting marriage equality that landed him in shark-infested waters when he played a rugby match in Australia a few weeks ago. Rather than kowtowing to the conservative politicians in that country, who were against him performing, Macklemore made his position clear from the outset of that performance in a show of defiance. He bring his new solo album, Gemini, which has endeared himself to seniors everywhere, along with hits about thrift-shop bargains, to the House of Blues. Tickets start at $36. One dollar from every ticket will go towards advancing racial and social injustice through the M&RL Equity Fund. Doors open at 7 pm.

    Thursday, October 19
    Kanye West protégé Kid Cudi hits the Revention Music Center with his Passion, Pain & Demon Slaying Tour. He’s worked with some of the best in the business, including Jay Z, Snoop Dogg, Mary J. Blige and a huge sign of success, Michael Bolton. Tickets start at $45. Show starts at 7 pm.

    Austin indie-rock torchbearers Spoon will also trek over from ACL for a House of Blues appearance on Sunday.

    Austin band Spoon
    Photo courtesy of Spoon/Facebook
    Austin indie-rock torchbearers Spoon will also trek over from ACL for a House of Blues appearance on Sunday.
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    Movie Review

    George Clooney shines in Jay Kelly, a sharp and heartfelt look at fame

    Alex Bentley
    Nov 21, 2025 | 3:00 pm
    George Clooney in Jay Kelly
    Photo by Peter Mountain/Netflix
    George Clooney in Jay Kelly.

    The life of a celebrity is paradoxical in that your life is lived in the public eye, yet who you really are is almost unknowable. Movie history is littered with films that try to dig into the private lives of real and fictional actors, with varying results. The latest film to try to unearth what it means to be famous is Jay Kelly.

    In a perfect bit of casting, George Clooney stars in the title role as an actor who’s still world famous even if he’s edging toward the downside of his career. His coterie of helpers, including manager Ron (Adam Sandler) and publicist Liz (Laura Dern), make sure he is taken care of at every turn, often anticipating his needs before he realizes it.

    A run-in with an old friend, Timothy (Billy Crudup), sends Jay spiraling, questioning not just the meaning of his 35-plus year career, but also his relationships with his two daughters, Jessica (Riley Keough) and Daisy (Grace Edwards). Jay’s attempt to manage the crisis pits his identity as a celebrity and as a father and friend against each other.

    Written and directed by Noah Baumbach, and co-written by Emily Mortimer (who has a small role), the film has to walk the tightrope of making the audience like Jay even as he does and says things that might make him unlikable. There’s a very thin line between the character of Jay Kelly and the real life George Clooney; each is seemingly infinitely charming when dealing with the public, but they lead very different private lives.

    Baumbach takes a light approach to the story, occasionally dipping into more serious territory but never going too deep. For some, this may seem like a copout, as if he’s merely pretending to want to explore what celebrity truly is. But as you see Jay navigate his way between his work, his family, and being out among the public, little details emerge that make him increasingly complex.

    A lot of the film’s pleasure comes from the strong actors cast in relatively minor roles. There are not enough words to express what it means to have actors like Jim Broadbent as Jay’s mentor, or Greta Gerwig as Ron’s wife, or Stacy Keach as Jay’s father, or Patrick Wilson as a fellow longtime actor. Each of them and more lend an instant air of excellence to the film that elevates the story beyond its simple premise.

    Clooney may be playing a version of himself, but as the film notes on multiple occasions, playing yourself is more difficult than it seems. He is deserving of an Oscar nomination, as is Sandler, who doesn’t give off even a whiff of insincerity as a man who has given perhaps a bit too much of himself in aid of another man’s career.

    Jay Kelly is not a world-changing film, and some may accuse it of being another navel-gazing Hollywood story. But the forcefulness of Clooney’s performance, the long line of strong supporting actors, and the subtly effective storytelling by Baumbach and Mortimer (making her feature screenwriting debut) help it become much more than might be expected.

    ---

    Jay Kelly is now playing in select theaters. It debuts on Netflix on December 5.

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