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Live Music Now

These are the 5 best concerts in Houston this week

Johnston Farrow
Johnston Farrow
Dec 24, 2019 | 12:01 pm

Is the Leonard Cohen classic, "Hallelujah," a Christmas song?

That's what the Arlington, Texas-based a cappella group Pentatonix would have you believe, seeing as their cover of the immortal tune is now creeping into Christmas music playlists. The five-piece that sells a boatload of holiday-themed music and that just performed a sold-out show at the Smart Financial Centre at Sugar Land has somehow blasphemed a song with heavenly themes.

Yes, it's a song about religion. It's also a song about a devastating breakup. It is also a song about sex. The really passionate kind. Which really doesn't fit on a playlist of Christmas tunes.

The sudden pervasiveness of the updated version has irked some music writers, including Sterogum's Chris DeVille, who states plainly why the world's most famous barbershop quintet went a bit too far. We'll leave you to read his piece and decide. Just remember — when you hear the Pentatonix holiday version, you're really listening to a song about knocking boots, and we're not talking the kind that Santa wears.

Meanwhile, the last week of the year is a great time to see Texas acts in a live setting after your fill of food and family. CultureMap's shows of the week are as follows:

Los Skarnales at White Oak
Houston ska legends Los Skarnales have been a going concern for over 25 years. Started in 1994 during the peak of the genre's third wave, they've shared the stage with the biggest ska acts in the world all the while representing the diversity of the city over the course of their long and varied career, drawing from ska, punk, reggae, cumbia, and rockabilly.

For two-tone fans that prefer to skank those Christmas calories away, this is the perfect setting to do so while holding one up for one of the best acts to grace local stages over the last quarter century. And for 15 bucks to see a handful of local acts, the value can't be beat.

Los Skarnales play White Oak Music Hall, located at 2915 N. Main St., on Friday, December 27. Tickets are $15 plus fees. Piñata Protest, Debauche, DJ Big E, and DJ Tropicana Joe open. Doors open at 8 pm.

Roger Creager at Goode Company Armadillo Palace
For a man who didn't start performing in front of an audience until 26 years old, Roger Creager sure made up for lost time in his home state of Texas. One of the most popular country singer-songwriters in the Lone Star State, Creager sells out middle-sized venues with regular ease, evidenced by his three-night run this month at Tomball's Main Street Crossing earlier this month.

Even though guitar is his main instrument these days, the troubadour will concentrate on his first learned instrument — the piano — when he plays the Goode Company Armadillo Palace in an intimate show this weekend. He may not have released an album since 2014's Roadshow, but with tried-and-true regional hits, "Turn It Up," "Rancho Grande," and "The Everclear Song," fans won't really mind.

Roger Creager performs at Goode Company Armadillo Palace, located at 5015 Kirby Dr., on Saturday, December 28. Tickets start at $20 plus fees. Doors open at 8 pm.

CultureMap show of the week: The Toadies at House of Blues
"So help me Jesus" has a completely different connotation when Fort Worth alt-rock faves the Toadies come to town this holiday season. That would be a line from their biggest hit, "Possum Kingdom," a song about a North Texas killer that became an unlikely Top 40 hit and catapulted the album, Rubberneck, to platinum status.

But a years-long label battle set the band back, momentum it would never recover. That said, the Toadies still rock hard, as anyone who saw them at the Love Street Music Fest earlier in 2019 can attest. This show is a must-catch for any '90s alt-rock fan.

Toadies are at House of Blues, located at 1204 Caroline St., on Saturday, December 28. Vandoliers open. Tickets start at $27.50 plus fees. Doors open at 7 pm.

Ghostland Observatory at White Oak Music Hall
Austin's Ghostland Observatory reached epic heights following the release of their 2006 album, Paparazzi Lightning, receiving critical adulation and high billing at festivals for their Queen-meets-Daft Punk inspired sound. Unfortunately, they seemed to be a product of their time when indie rock and EDM beats sold like hotcakes. The band wouldn't reach those heights again.

Even so, the duo of Aaron Behrens and Thomas Turner are still revered by fans for their epic live show that get hips shaking and fists pumping, still drawing crowds to Red Rocks in Colorado and Austin City Limits (the TV show, not the fest) years after they caught lightning in a bottle. Thankfully, after a long hiatus, the band released a new album in 2018, See You Later Stimulator. Their annual pilgrimage to H-town should be hot and sweaty.

Ghostland Observatory headline White Oak Music Hall, located at 2915 N. Main St., on Saturday, December 28. Tickets are $35 plus fees. Doors open at 8 pm.

CultureMap recommends: Charley Crockett at Heights Theater
Talk about a Christmas miracle. This time last year, Charley Crockett prepared to go under the knife for open-heart surgery to repair a congenital heart defect. After months of recovery, the Americana, old-school country crooner released The Valley, one of his best albums that recalled a time when country performers not only could sing, they were unquestionably cool.

Like the best artists, Crockett isn't pigeonholed by a sound, rather pulling various elements of blues, R&B, and jazz, alongside a gritty roots flourish. Simply put, there's no other artist doing what Crockett does so well in front of an audience.

Charlie Crockett performs at Heights Theater, located at 339 W 19th St., on Sunday, December 29. Katie Vincent Neil Emerson opens. Tickets start at $22 plus fees. Doors open at 7 pm.

CultureMap show of the week: Toadies play House of Blues on Saturday, December 28.

The Toadies
The Toadies/Facebook
CultureMap show of the week: Toadies play House of Blues on Saturday, December 28.
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Movie Review

Avatar: Fire and Ash returns to Pandora with big action and bold visuals

Alex Bentley
Dec 18, 2025 | 5:00 pm
Oona Chaplin in Avatar: Fire and Ash
Photo courtesy of 20th Century Studios
Oona Chaplin in Avatar: Fire and Ash.

For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

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Avatar: Fire and Ash opens in theaters on December 19.

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