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    RodeoHouston 2022

    Pop queen Gwen Stefani leaves no doubt about her star power in RodeoHouston debut

    Johnston Farrow
    Mar 16, 2022 | 12:47 am
    Stefani was bananas — B-A-N-A-N-A-S — in her rodeo debut.
    Stefani was bananas — B-A-N-A-N-A-S — in her rodeo debut.
    Photo courtesy of Houston Livestock Show and Rodeo

    Well, that was hella good.

    Drawing songs from her 30-year career, the California-raised, girl-power heroine Gwen Stefani put on a show in front of 65,561 on Tuesday, March 15, making us wonder, why did it take so long for her to make her debut at RodeoHouston?

    The pandemic is quite obviously the biggest reason for the delay — two years to be exact since her 2020 show was cancelled. But Stefani could have easily rocked out NRG Stadium much longer ago, achieving superstar status as a solo artist in 2004 with the seven-times platinum-selling, Love. Angel. Music. Baby. after selling 33 million worldwide with her ska-influenced alt-rock band, No Doubt.

    Stefani has played Houston many times previously, way back to a early-years, pay-your-dues performance with her former band on the University of Houston campus in 1992, mostly ignored by students hustling to and from class.

    This time around, she had a captive, much more appreciative audience there to see the pop queen fashionista who since then has topped of the charts and sold millions of albums.

    It’s a remarkable success story. The bottled blonde singer, dressed in a gorgeous, bedazzled, gold, white and green cowgirl outfit finished with white boots, started with the pop radio hit "Sweet Escape," the title track of her 2006 album, igniting the first of many singalongs throughout the evening.

    She was flanked by a gaggle of dancers who had choreographed moves for every song, backed by a four-piece band, including the standout trombone-keyboard player, Gabrial McNair.

    "Sunday Morning," from the massive-selling 1995 No Doubt album, Tragic Kingdom, foreshadowed many songs from her time in that band and brought us back to when they ruled MTV and the radio. "It's been a two-year wait, but that’s okay!," said the 52-year-old, still stunning after decades in the game. "I can't believe it... I’m here at the rodeo in Houston!"

    "Underneath It All" from 2001's Rock Steady brought some ska and reggae flavor, complete with some light ska dancing. Stefani served as her own hype woman, keeping everyone in the stadium engaged. “I really like you, Houston! I really like you!" she said. And we liked her right back.

    A relative deep-cut, "Bathwater," the fourth single from No Doubt’s 2000 album Return to Saturn reached way back into the songbook while her dancers executed line dance-influenced moves. "I don’t want to disappoint you," she told us, alluding to her husband that has headlined RodeoHouston countless times.

    "I’m married to Blake Shelton and I'm sorry he's not here right now, but he's at home being a good dad and babysitting!" "It's My Life" came next, the 1984 cover song by Talk Talk that No Doubt took to No. 10 when it was included on their 2003 greatest hits collection, The Singles, 1992-2003. It was one of the most rocking moments of the night and a great showcase from her extra tight band.

    "Rich Girl" from the well-represented solo record, Love. Angel. Music. Baby., brought the crowd to their feet. The funkier, new wave No Doubt singles, "Ex-Girlfriend" and "Hella Good" followed, everyone jumping up and down at the singer’s command, a fun moment.

    Back to Tragic Kingdom, the '90s power ballad "Don’t Speak" drew some of the loudest cheers and had cellphone flashlights in hands as Stefani ascended 20 feet into the air to serenade the crowd. Her voice never sounded better all night.

    Known for mixing up genres in her solo work, Stefani brought something for everyone with "Wind It Up" from The Sweet Escape bringing yodeling to RodeoHouston next to Latin flourishes over a marching band beat. "Cool" from Love. Angel. Music. Baby. slowed things down to a couples-dance-at-prom speed, a hint of romance along with the slow-burn rock guitar licks.

    "Luxurious," another single from the same album, veered into bedroom soul, a tune that wouldn’t be out of place at a Boyz II Men concert. "I'm feeling nostalgic because I’ve waited two years for this," she exclaimed. "[Back then], I had a life in Anaheim, California. Now I live in Oklahoma and I’m at a rodeo. I feel like we are family now!"

    "What You Waiting For?," her timeless debut solo single kicked off and it was straight fire with rampant arse-shaking in the aisles, the most dance-music indebted song of the night with a thumping 4/4 bass drum groove. The energy now at level red, it was back to No Doubt hits, "Hey Baby" from Rock Steady, including more ska dancing and a toast by McNair.

    Tragic Kingdom single, "Spiderwebs," had anyone who grew up in the '90s with a smile on their face. "We were a band for nine years before we got a song on the radio," Stefani stated before the penultimate track. "This song is bigger now than it ever was back then."

    Debut Tragic Kingdom single, "Just a Girl," had all the ladies in the house up on their feet, a feminist anthem for the ages, the crowd practically drowning Stefani’s vocals.

    The Neptunes-produced No. 1 song "Hollaback Girl" wrapped up the evening, making NRG Stadium practically explode. Everyone sung the earworm chorus — no clean version needed — and the applause at the end of the stone cold 2005 classic might have been among the loudest moments in NRG history.

    With that, Stefani jumped on the back of a Ford truck, still hyping up the crowd until she wheeled into the tunnel. If last week's Journey show was for the Boomers, here was a performance for late Gen Xers and early Millennials, largely underrepresented at RodeoHouston.

    One welcome surprise was the number of No Doubt hits included on the setlist, a dream come true to anyone that followed the Orange County band from the beginning. And while nostalgia did play a big factor in overall success of the night’s performance, this was the kind of fan service we were completely on board to see and experience.

    Gwen — we’re on a first name basis after that performance — simply crushed it in what is in the running for the best concert of the RodeoHouston season, her neon-bright personality shining from start to finish, and her sing-shout vocals sounding excellent throughout.

    Indeed, that s**t was bananas. B-A-N-A-N-A-S.

    Setlist

    “Sweet Escape”

    “Sunday Morning”

    “Underneath It All”

    “Bathwater”

    “It’s My Life”

    “Rich Girl”

    “Ex-Girlfriend”/“Hella Good” (Vegas Version)

    “Don’t Speak”

    “Wind It Up”

    “Cool”

    “Luxurious”

    “What You Waiting For”

    “Hey Baby”

    “Spiderwebs”

    “Just a Girl”

    “Hollaback Girl”

    Stefani was bananas — B-A-N-A-N-A-S — in her rodeo debut.

    Gwen Stefani Rodeo Houston 2022
    Photo courtesy of Houston Livestock Show and Rodeo
    Stefani was bananas — B-A-N-A-N-A-S — in her rodeo debut.
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    Movie Review

    Margot Robbie ignites provocative new take on Wuthering Heights

    Alex Bentley
    Feb 12, 2026 | 3:31 pm
    Jacob Elordi and Margot Robbie in Wuthering Heights
    Photo courtesy of Warner Bros. Pictures
    Jacob Elordi and Margot Robbie in Wuthering Heights.

    Emily Brontë’s 1847 novel Wuthering Heights is one of those classic books assigned in high school English classes, and it has received a number of film adaptations over the years — each of which differ in numerous ways from the source material. Purists won’t receive any reprieve from Emerald Fennell’s 2026 adaptation, with a title that is stylized as "Wuthering Heights” for good reason.

    Cathy (played as an adult by Margot Robbie) and Heathcliff (Jacob Elordi) have known each other their entire lives, with Cathy’s alcoholic and inveterate gambler father (Martin Clunes) taking in Heathcliff on a whim when he was a boy. The two bond as they grow up together, although Cathy always seems to have an eye on moving up in society from their relatively impoverished lifestyle.

    Cathy finally gets her wish when the rich Linton familyled by Edgar (Shazad Latif), moves in down the road, Despite discovering she has feelings for the now grown-up Heathcliff, Cathy sees Edgar as her way out and agrees to marry him. A scorned Heathcliff flees, returning years later as mysteriously wealthy. His reappearance ignites something in Cathy’s soul, and the two engage in a perhaps unwise affair.

    Fennell (Promising Young Woman, Saltburn) infuses the dusty material with an energy that’s not typically present in stories set in this particular time and place. Aside from the occasional Charli XCX song (the singer created a whole concept album for the film), the film looks and feels like a period piece, albeit one that doesn’t get bogged down in the drudgery that can sometimes come from films set in the distant past.

    Much of that has to do with the lust the filmmaker puts into the story. Even if you’re not familiar with Brontë’s book, you can rest assured that Fennell has strayed far from the text, giving Cathy and Heathcliff thoughts and actions unthinkable in the 19th century. Fennell plays with expectations by opening the film with audio featuring creaking noises and a man grunting, conjuring up a situation far different than what is actually happening, and she also makes liberal use of rain, sweat, and tears to make the actors enticing.

    What she can’t do, however, is make the two lead characters compelling. Cathy is a striver who never seems to know what she wants out of life, and Heathcliff goes from a bore to a brute over the course of the film, with no clear indication that he likes anybody, much less Cathy. Anyone expecting some kind of grand romance will be disappointed as Fennell is much more interested in making the film weird, like having the walls of Cathy’s room look like her skin, complete with freckles.

    Robbie and Elordi do well enough with the material, and it’s clear that both of them are committed to bringing Fennell’s vision to life. Their styles tend to balance each other out, and if the story had been committed to their characters’ relationship, they might be lauded for their chemistry. In the end, though, the supporting actors feel more interesting, including ones played by Hong Chau, Alison Miller, and Clunes.

    This version of Wuthering Heights should never be construed as an alternative to reading the book for any high schoolers out there. While Fennell makes the film interesting with her technical filmmaking choices, the story never finds its footing as it fails to sell the one thing that it seems to promise.

    ---

    Wuthering Heights opens in theaters on February 13.

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