Beats Meet Broncos

Rave on: The Chainsmokers turn RodeoHouston into world's largest nightclub with an electro beat

A middle-aged man stood outside NRG Stadium, dressed in the traditional garb worn by the majority at the Houston Livestock Show and Rodeo on Sunday evening: a patterned button down shirt, blue jeans and cowboy boots.

But his hat revealed that this wasn't an ordinary night. It read, "Make America Rave Again," a cheeky allusion to the show 74,280 people had just witnessed thanks to the electronic dance music DJ duo, The Chainsmokers.

Thanks to an early start time on a Sunday, many families touting sons and daughters familiar with the Top 40 radio hits of Andrew Taggart and Alex Pall stuck around to check out the first EDM act to play RodeoHouston. The hour-long set turned NRG Stadium into the world's largest nightclub with big electro beats, pyrotechnics and fireworks, fog machines, and a trippy laser and light show. It immediately followed bull riding and mutton bustin'.

At first, it didn't seem as though the combo of cowboys and dancefloor bangers would mix, as the duo came out to stage with a bare table of four CDJs and a single microphone, not a single stringed instrument in sight. Taggart did sing vocal hooks on a handful of songs, but the setlist was comprised entirely of prerecorded selections, many just snippets mixed into one another.

Taggart even alluded to his strange surroundings at one point. "I know the expression is this isn't your first rodeo, but this really is our first rodeo," he said. "I don't think I've ever seen dance music in a situation like this."

But if a DJ's job is to get people moving, then The Chainsmokers succeeded by mastering the first rule of the craft — know your audience. The setlist not only included their biggest songs (No. 1 single "Closer," top 10 singles "Paris," "Don't Let Me Down," "Something Just Like This" and "Roses"), but a mishmash of songs familiar to everyone including "Rock And Roll All Nite" by Kiss, "Gonna Fly Now" from the film Rocky and "Under The Bridge" by the Red Hot Chili Peppers. They were obviously playing to the youngest in attendance by including tunes from emo rock (Panic! At the Disco), punk pop (Blink 182) and hip-hop (T.I., DJ Khaled).

While it may have left a segment of country diehards scratching their heads underneath their cowboy hats, the performance that amounted to two self-admitted party bros dancing on on a table and twiddling knobs was better received than anyone anticipated. The go-for-broke, expertly-choreographed visuals helped sell the entire package.

"Make some noise if this is your first rave," Taggart directed the crowd. And make noise they did, attendees turning NRG Stadium into a dance party, with a surprising amount singing along to many of the songs in the wide-ranging set.

Once one got over how weird it was to see two guys throwing down massive beats in the middle of a dirt pile, it was a lot of fun. Taggart and Pall were well aware of the irony of it all, at one point dropping the theme of Disney's The Lion King, with the former snickering that he couldn't believe he had just played it at a rodeo.

RodeoHouston deserves credit for thinking outside the box with its programming, knowing full well that families would be out on a Sunday to take in the sights. It was an ingenious way to keep butts in seats, or in the case of Sunday's performance, wiggling in the aisles.

Electric Daisy Carnival, eat your heart out.

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Setlist Note: Artists at the Houston Livestock Show and Rodeo generally have a setlist made available to media. The Chainsmokers did not, so this list was compiled thanks to good old Shazam. Songs that were not found or known are marked as such.

“Paris (Remix),” The Chainsmokers
“Don’t Let Me Down (Remix),” The Chainsmokers
“Inside Out (Remix),” The Chainsmokers
Unknown track
“Feel Your Love,” Flux Pavilion & NGHTMRE feat. Jamie Lewis
“Follow (Zomboy Remix),” Bro Safari
“Until You Were Gone (Skruz & Saturn Remix),” The Chainsmokers feat. Emily Warren
“Let ‘Em Know,” Datsik feat. Armanni Reign
“Rock and Roll All Nite (Remix),” Kiss
“Weaponize,” Pegboard Nerds & MIU
“What You Know,” T.I.
“Thief,” Ookay
“All We Know,” The Chainsmokers
“Gonna Fly Now (Rocky Theme) Remix,” Bill Conti
“Pop Dat,” 4b & Aazar
“Sweet Nothing,” Calvin Harris feat. Florence Welch
“Cinema,” Benny Benassi X Skrillex feat. Gary Go
“Kanye,” The Chainsmokers feat. SirenXX
“I’m God,” Clams Casino
“All I Do Is Win,” DJ Khaled
“Split (Only U),” Tiesto & The Chainsmokers
“Show Me,” Tiesto & DallasK
“Can’t Get Enough,” Lookas
“Under The Bridge,” Red Hot Chili Peppers
“Roses,” The Chainsmokers feat. ROZES
“Setting Fires,” The Chainsmokers
“Paris,” The Chainsmokers
“Paris (Pegboard Nerds Remix),” The Chainsmokers
“What’s My Age Again,” Blink 182
“Wylin, Part 2,” Cesqueaux
“Tremor (Sensation 2014 Anthem),” Dimitri Vegas & Martin Garrix & Like Mike
“Bang,” WAVEDASH
“Closer,” The Chainsmokers feat. Halsey
“Closer (Wuki Remix),” The Chainsmokers feat. Halsey
“I Write Sins Not Tragedies,” Panic! At The Disco
“Ride,” Twenty One Pilots
Unknown track
“Something Just Like This,” The Chainsmokers & Coldplay
“King of Africa (The Lion King theme),” Douser
Unknown track
“Boozy,” Stoltenhoff
“Yellow (Remix),” Coldplay
“Don’t Let Me Down,” The Chainsmokers feat. Daya

The Chainsmokers put on a hell of a dance party at RodeoHouston.

The Chainsmokers Houston Rodeo 2017 stage

Photo by Michelle Watson/CatchLight Group

The Chainsmokers put on a hell of a dance party at RodeoHouston.

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Movie Review

Anne Hathaway's busy 2026 continues with meta-thriller Verity

Photo by Alisha Wetherill

Anne Hathaway in Verity.

Anne Hathaway has been inescapable for movie fans in 2026, starring in no fewer than five different movies across multiple genres, including Mother Mary, The Devil Wears Prada 2, The Odyssey, and The End of Oak Street. The actor (who’s pregnant and about to take a well-earned break) is wrapping up her supremely busy year with the psychological thriller, Verity.

Hathaway plays the title character, Verity Crawford, a hugely successful author who writes beach read thrillers, often from the perspective of the villain. An unpublicized car accident renders her immobile and mute, and her husband, Jeremy (Josh Hartnett), and agents make the decision to recruit someone to ghostwrite her next book in order to continue her legacy.

The person hired for the job is Lowen Ashleigh (Dakota Johnson), an aspiring author whose books mostly get ignored. She’s eager to take on the project, but the reality of Verity’s situation throws her for a loop. When she discovers a secret file that seems to be Verity admitting to some very bad things, Lowen starts to spin even more, imagining situations that may not actually be happening.

Directed by Michael Showalter and adapted by Nick Antosca from the book by Colleen Hoover, the film initially has a nice rhythm to it, setting up the three main characters well and building up tension. Though current day Verity can’t speak or move, the film gets to the heart of her through old interviews Lowen watches to get to know her mind better. Using that footage and other small moments at the house, a type of rivalry develops between the two characters.

Strangely, though, Showalter and Antosca fail to capitalize on the early momentum. The story stagnates about halfway through the movie and never delivers on what it seems to be promising. Whether they’re too true to Hoover’s original story or change things too much is difficult to tell for those who haven’t read the book, but either way, the result is a big tease with not much in the way of a payoff.

What’s most disappointing about the film is its inability to decide on a tone. There are some points where it feels like over-the-top, campy fun, and others where it seems like the filmmakers are going for a straight-up horror vibe. The down-the-middle approach that they land on serves neither the story nor the characters well. Moments that should be full of suspense or could get laughs often fall flat because of the indecisiveness of the filmmakers.

Due to her character’s affliction, Hathaway is reduced to a supporting role in the film, but she gets by on presence alone and still has a few scenes where she demonstrates her star power. Johnson delivers a good performance despite her typical lack of emotion. Like many of her roles, it’s her body that seems to get more attention than her acting. Hartnett is on a roll thanks to recent roles in Oppenheimer and Trap, and he puts in solid work here, as well.

Verity has the bones of a tense thriller, but it’s filled in with a bunch of questionable story beats that don’t prove as satisfying as the premise. The meta-plot of the authors of thrillers becoming involved in a thriller themselves should have been juicy and full of great twists, but ultimately it’s as catatonic as Verity herself.

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Verity is now playing in theaters.

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