RodeoHouston 2022

RodeoHouston saddles up with George Strait, Gwen Stefani, Bun B, and more for 2022

RodeoHouston is finally back.

After a one-year hiatus due to COVID-19, officials unveiled the 90th anniversary line-up at a media event at Pat Green's downtown honky-tonk venue, The Rustic, and it will not disappoint rodeo purists and casual music fans alike. Similar to the last couple of years, it represents a diverse set of performers set on a bedrock of country acts that comprise 14 nights of the 21-night event.

Just as CultureMap predicted, many of the performers that missed out on playing the 2020 edition shuttered abruptly due to the coronavirus will get a second chance to play the star-shaped stage this year. Call the 2022 edition the 2020 redux.

"The goal was to bring back as many of the stars [that were set to play] as possible, given the schedules, because this year got really tight particularly with the venues available and with many acts getting back on the road," said Jason Kane, managing director of entertainment for the Houston Livestock Show and Rodeo. "In that sense, I feel like we really succeeded in doing that. Like previous years, we wanted to keep a mix of genres that really tap into the overall make up of Houston."

Country acts set to return from the 2020 calendar include rising East Texas country act Cody Johnson opening proceedings on February 28 with his fourth official appearance; Aussie wunderkind Keith Urban for the eighth time on March 1; superstar Tim McGraw on March 2, up-and-coming solo act Jon Pardi in his rodeo debut on March 5; The Voice judge Luke Bryan on March 7, back for the ninth time; Maren Morris on March 8 for her first official RodeoHouston appearance; Dierks Bentley for the seventh time on March 13; Chris Stapleton on March 17 for the fourth go; and Brad Paisley on March 19.

Outside of the country genre, returning performers include pop queen Gwen Stefani also making her debut on March 15 (look for a Blake Shelton cameo); R&B sensation Khalid on March 16 for the first time in the dirt and dust; and the living EDM emoji Marshmello on March 18. Major disappointment came with the realization that Houston-native Lizzo would not return, but not for lack of trying. Kane said they worked extremely hard to book her but schedules could not line up, but promised that as a hometown hero, "Lizzo can perform at RodeoHouston anytime she wants."

Fresh acts announced included the very first contemporary Christian act, for King & Country on March 3; Latin powerhouse Ricky Martin on March 4, fresh off a co-headlining Toyota Center gig with Enrique Iglesias; Norteño band Los Tucanes de Tijuana on March 6; classic rock band Journey on March 10; and singer-songwriter Sam Hunt on March 14.

Most excitingly, Houston hip-hop gets it’s very first showcase with Bun B's H-Town Takeover headlining Black Heritage Night on March. The chopped and screwed champ let the announcement crowd know that he’ll be joined by Slim Thug, Lil' Keke, and other special, surprise guests that will surely get rumors going over the next few months.

They will join previously announced performers, including Parker McCollum on March 12 and highlighted by country icon George Strait and special guest Ashley McBryde closing out the season on Sunday, March 20. He will look to beat his record setting NRG stadium audience numbers.

It was impossible to ignore the omicron elephant in the room, with COVID transmission numbers at near-historic levels in the Lone Star State. RodeoHouston officials pointed to major sports events across the U.S. that people are willing to attend major entertainment gatherings.

"We want everyone to follow CDC guidelines, we encourage folks to get vaccinated, and to wear a mask if that's what makes them most comfortable," Kane said.

If the pandemic decides to take a backseat to the largest annual event in the Bayou City, it will serve as a reset from the last two, ill-fated seasons, a return to relative normalcy. Whatever the case, all who attended the announcement ceremony on Wednesday night could agree that it was good to have RodeoHouston back.

Country legend George Strait will attempt to break his RodeoHouston audience record on Sunday, March 20.

Photo courtesy of RodeoHouston

Country legend George Strait will attempt to break his RodeoHouston audience record on Sunday, March 20.

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Movie Review

Over-the-top acting and incoherent plot drag down Her Private Hell

Photo courtesy of Neon

Sophie Thatcher in Her Private Hell.

Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

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Her Private Hell opens in theaters on July 24.

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