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    Live Music Now

    Here are the 6 best concerts in Houston this week

    Johnston Farrow
    Johnston Farrow
    Dec 4, 2018 | 2:20 pm

    The CultureMap weekly live music column is usually a chronological affair, taking readers through the biggest, best, and most noteworthy shows day-by-day. But this week, we're going to skip to the most important first because it's that big of a deal and will likely be some of the biggest shows of the year.

    The Rocket Man himself, Sir Elton John will make what he says to be his last appearance on a Houston stage as a performer this weekend, capping a legendary career with his Farewell Yellow Brick Road tour. While music retirements are usually as hard and fast as comic book character deaths, there is a legitimate chance this one will stick. The 71-year-old is a gazillionaire, has sold almost as many albums (over 300 million), influenced countless musicians, has little left to prove, and nothing more to accomplish. At this point, he's doing it because he was born to do it, music is simply the same to him as breathing (with big thanks to his mum in the recent poignant, tear-jerking Christmas ad).

    It would be nearly impossible to list all of his hits here, especially since he achieved at least one Top 40 song every year from 1970 to 1999. But expect to hear his biggest, "Candle in the Wind," "Bennie and the Jets," "Don't Let the Sun Go Down On Me," "Goodbye Yellow Brick Road," "Your Song," "I Guess That's Why They Call It the Blues," among many others.

    It's not shocking that both his Saturday and Sunday show are completely sold out. But if you are a fan and have access to a savings account, the money it will take to buy a ticket on the resale market it will be worth it to see one of most talented stars in the history of music tickle the ivories one more time. His talents as a live performer will be missed.

    Elton John says farewell to all the tiny dancers at the Toyota Center, located at 1510 Polk St., on Saturday, December 8 and Sunday, December 9. Tickets start at $195 on the resale market. Doors open at 7 pm.

    Born Ruffians at White Oak
    Toronto indie-rock act Born Ruffians made waves in their native land since their inception in the mid-aughts, but are making a play for relevancy in the U.S. The three-piece has toured with some of the indie-rock circuit's best including Franz Ferdinand, Peter Bjorn and John, and Caribou, their eclectic indie rhythms combined with folky melodies. Their latest is Uncle, Duke & the Chief.

    Born Ruffians play White Oak Music Hall, located at 2915 N Main St., on Tuesday, December 4. Little Junior opens. Tickets are $15 plus service fees. Doors open at 7 pm.

    CultureMap recommends: Nashville rising star Maggie Rose
    Singer-songwriter Maggie Rose is making big waves in her homebase of Nashville and beyond, gaining notices in major music publications, including NPR, Vogue, and USA Today, for her multi-genre style outside of country. She's touring with a 13-piece band, resulting in a blast of soul, funk, rock 'n roll, blues, gospel, and pop. Instead of Dolly, it's way more Arethra, allowing Rose's powerhouse voice to shine, embracing her inner diva.

    Maggie Rose performs at Warehouse Live, located at 813 St Emanuel St, on Friday, December 7. Oliver Penn opens. Tickets start at $10 plus service fees. Doors open at 7 pm.

    '70s R&B and soul with The Commodores and The Temptations
    It's an oldies double-bill at Arena Theatre this Friday as The Commodores and The Temptations are responsible for some of the biggest hits of the pop, R&B, and soul of the '60s, '70s, and '80s. The former act is mostly famous for when Lionel Ritchie was a co-lead singer and songwriter in the band before venturing off as a solo artist. Their song include the best of A.M. radio, "Three Times a Lady," "Easy," and "Nightshift." The Temptations are just as famous for their sweet, sweet melodies and dance moves to match. "My Girl," "Papa Was a Rollin' Stone," and "The Way You Do the Things You Do," are stone-cold classics and worth the price of admission.

    The Commodores and The Temptations are at Arena Theatre, located at 7326 Southwest Fwy, on Friday, December 7. Tickets start at $35.50 plus service fees. Show starts at 8:30 pm.

    Joy Williams (formerly of The Civil Wars)
    Unfortunately, the show at Heights Theater with the amazing blues act The Robert Cray Band on Friday is sold out, so let us point you in the direction of the upcoming performance by Joy Williams, formerly the singer of the acclaimed Americana act, The Civil Wars. She won four Grammy awards and hit No. 1 on the Billboard charts with her songwriting partner John Paul White before creative differences led to an acrimonious split in 2014. Williams has had a good solo career, which can be largely attributed to her gorgeous vocals, but the material veers more towards adult pop than her folksy back catalog. Regardless, she's a talent too good to pass up. She is touring in advance of her set-to-be released record, Front Porch.

    Joy Williams headlines the Heights Theater, located at 339 W. 19th St., on Sunday, December 9. Anthony Da Costa opens Tickets start at $26 plus a $6 service fee. Doors open at 7 pm.

    Stop and Stare at OneRepublic
    Pop-rock act OneRepublic last played at RodeoHouston earlier this year and seemed to find it difficult to fill the space, despite a good performance by lead singer Ryan Tedder. Their headlining slot at House of Blues will be the perfect venue for the "Counting Stars" and "Stop and Stare" band, allowing them to get up close and intimate with their die-hard fans as part of the Mixmas 96.5 holiday show.

    OneRepublic headlines the House of Blues, located at 1204 Caroline St., on Monday, December 10. Ocean Park Standoff, Matt Nathanson, and Brynn Elliott open. Tickets start at $59.50 plus service fees. Doors open at 6:30 pm.

    Joy Williams is at the Heights Theater on Sunday, December 9.

    Joy Williams Civil Wars
    Andy Barron
    Joy Williams is at the Heights Theater on Sunday, December 9.
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    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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