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    RodeoHouston 2022

    Cody Johnson kicks off RodeoHouston 2022's triumphant return in sold-out opening night

    Johnston Farrow
    Feb 28, 2022 | 11:35 pm
    A tip of the hat to the small-town Texas star.
    A tip of the hat to the small-town Texas star.
    Photo courtesy of Houston Livestock Show and Rodeo

    The signs of joy and excitement were everywhere on the concourse and in the stands at NRG Stadium on Monday, February 28.

    Smiles as wide as Bud Light aluminum cans are tall, RodeoHouston made its triumphant return with an eye-popping 70,554 fans in attendance to take in the opening night of the 2022 season, the 90th anniversary of the annual event. From the ticket takers, to the elevator attendants, to the vendors and seat ushers, it felt pretty darn good to be back enjoying large scale gatherings. After nearly two years, we were all ready to celebrate live music again.

    The evening entertainment duties fell to East Texas native Cody Johnson, riding high with his first No. 1 country hit, "'Til You Can't" under his outsized, gold-plated belt buckle. Comparatively speaking, RodeoHouston 2022 closer George Strait has 60 No. 1 hits. But the measuring stick of chart-toppers didn't matter this night, the sheer jubilation of simply being back at the rodeo meant that Johnson could do no wrong over the course of his rapturously received 13-song set.

    Few country stars can claim to have lived the cowboy life they so often sing about. But Johnson, raised in Sebastapol, Texas (pop. 120), spent time on the rodeo circuit as a young bull rider before deciding to put his energy into music. To put an even bigger exclamation point on his past credentials, Johnson's daughter Clara Mae competed in the mutton bustin' event only minutes before his set.

    Coming out to melody of rodeo-themed country tunes, including Glen Campbell's "Rhinestone Cowboy," Garth Brooks' "Rodeo," and his own "Welcome to the Rodeo," Johnson played into the excitement, giving a fierce arm wave and a Texas-sized whoop. Dressed sharply in a crisp blue shirt, blue jeans and black cowboy hat, he opened with "Dear Rodeo," showing off his classic crooner pipes, pausing briefly to give a shout: "Are you ready to have a party in Houston, Texas?"

    The upbeat stomp of "Honky Tonk Hardwood Floors" from his latest album, the 2021 release Human: The Double Album, gave way to "Dance Her Home" from 2014's Cowboy Like Me. Johnson was sure to use the star-shaped stage to his advantage, the points rising 20 feet in the air towards the rafters several times throughout the show. "Do you still listen to George Jones?" he asked, referring to a line in the hit single, the crowd applauding in the affirmative.

    Before "Diamond in My Pocket" from 2011's A Different Day, Johnson let the crowd in on a major career achievement. "I want you to know you are part of a historical night," Johnson said. "In 90 years, there are only three artists with the opportunity to sell out the rodeo on opening night. George Strait, Garth Brooks and thanks to you, myself here tonight."

    But a crooner is only as good as his ballads, so he got romantic to celebrate his wife's Brandi's birthday. Removing his hat, he belted out "Nothing On You," from 2019's Ain't Nothing to It, leading a massive singalong as thousands held their cell phone flashlights aloft. "We want the rest of the United States to know that country music is alive and well!," he exclaimed.

    Following another heartstring-tugger with "Stronger" from his latest album, Johnson delivered one of the best highlights of the night in "Me and My Kind" from Cowboy Like Me, with its catchy "'Cause she's over buckles, over spurs" refrain.

    "I told myself I'm going to record an album for every fan that paid $5 for a koozie or paid for a ticket," Johnson told the crowd about heading to Tennessee to record. "We set foot down in Nashville and said we're going to deliver country music the way it's supposed to be delivered." Rapturous applause ensued, classic country fans showing their approval for the good ol' days. That opened the door to his first double platinum song on country radio, "On My Way to You" from Ain't Nothing to It.

    True to his rural Texas roots, he took the time to recognize first responders and military, making a point to pay appreciation to those who selflessly put their bodies on the line for others. It was made more poignant by the tireless struggle and heartache many faced over the last two years.

    Next up, a fiery version of Ain't Nothin' to It cut "Long Haired Country Boy," an ode to free spirits that would rather take a toke and drink a beer before listening to anyone about how to live. That gave way to a showcase for his extremely tight five-piece band with impressive solos from each player, including a wicked steel guitar freak out from Harrison Yount of Boerne, Texas, before awesomely wrapping up with a few bars from "Tom Sawyer" by Canadian prog-rock legends Rush.

    Sitting down on a stool, Johnson recalled going through emergency surgery last December to fix a neck injury sustained during his bull and horse riding days. He faced the very real possibility of losing the use of his right arm, requiring extensive work to his spinal cord and a weeks-long recovery.

    "When I say I'm happy to be here tonight, I mean that I'm very happy to be here tonight with you in Houston," Johnson said, visibly emotional while he thanked Jesus Christ and his wife Brandi for delivering him through dark times. Sitting upon a star point elevated in the air, he performed a somber but inspired "Human."

    That brought on the finale, the aforementioned No. 1 song "'Til You Can't." He acknowledged its chart placement with a grin, enthused to be playing the song on such a big stage. Johnson gave his best vocals of the evening, his band harmonizing perfectly throughout, the message of living for today resonating with those at NRG Stadium.

    True to form, the former professional cowboy rode off from the stage on horseback, stopping to wave his hat as the attendance numbers were announced. A fist pump added emphasis to the adoring 70,000-plus fans who were grateful to see him in fine form.

    Johnson kept the crowd hyped throughout the night, inviting audience participation, showcasing his talent as a top-tier professional songwriter and performer. No doubt, paying his dues on the Texas honky-tonk circuit helped him hone his live music chops, taking his full-throated twang and stage presence to the next level.

    In front of a sold-out crowd, he and his band made an argument they deserve to be mentioned in the same company as the biggest country acts working today.

    Make a bet: expect to see Cody Johnson at RodeoHouston many more years to come.

    Setlist
    "Dear Rodeo"
    "Honky Tonk Hardwood Floors"
    "Dance Her Home"
    "Diamond"
    "Build A Fire"
    "With You I Am"
    "Nothing On You"
    "Stronger"
    "My and My Kind"
    "On My Way to You"
    -First responder recognition-
    "Long Haired Country Boy"
    -Solos-
    "Human"
    "'Til You Can't"

    Johnson matched the energy of the opening night crowd.

    Cody Johnson rodeo houston 2022 opening night
    Photo courtesy of Houston Livestock Show and Rodeo
    Johnson matched the energy of the opening night crowd.
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    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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