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    Kid Rock Rules

    Kid Rock rules at raucous Rodeo concert with badass rock 'n' roll, turntable and flames

    Reid Schroder
    Reid Schroder
    Mar 16, 2016 | 6:14 am

    Kid Rock, you crazy rock 'n' roll animal. You won me over with a turntable and flames. I knew this was going to happen the second you blindfolded your lead guitar player while he was tearing into the solo of “All Summer Long,” and that was only a song and a half in. You were grinning in that fedora that you like to flip the brim up like you belonged in Run-D.M.C.

    I was afraid that you were going to play a lot of those newer songs you’ve taken to writing lately. You know, the ones that sound a little too country for an American Badass like yourself? You opened up with “First Kiss,” and to be perfectly honest, the years of Jim Beam and cigars have not been kind to your vocal chords.

    After that first song, I thought for sure the night was going in the wrong direction and that the closest we would get to seeing the Kid Rock of old would maybe be the obligatory run through “Cowboy” sprinkled in with a string of new songs that lacked the requisite bravado that we all came for.

    Boy howdy was I wrong.

    You and your crowded band full of backup singers, saxophonists, interpretive dancers, and other musicians took the audience — and by proxy America — to heights previously only navigated by bald eagles.

    I wanted to leave my seat and grab a beer, but I couldn’t take my eyes off the stage for fear of missing some of the fun. I thought I saw an opening in the set list after you performed “Picture,” a riveting duet you recorded with Sheryl Crow and Allison Moorer. I could not have been more wrong. A song I didn’t recognize on the set list called “Three Sheets To The Wind” ended up being the high point of the entire night!

    “Three Sheets” introduced his alter ego Bobby Shazam to the NRG stadium crowd of 66,540, a DJ who specializes in expertly chopping up what else but Kid Rock records on the turntable. I didn’t realize that Bobby Shazam was you until he took a giant slug from a glass of Jim Beam, but when that happened and the crowd lost it, I really wish I’d had a beer in my hand to toast your showmanship.

    Of course, you had much more in store during that song. You play drums too? You own one of those talk boxes for your guitar? I hoped the song would go on for the rest of the night. Kid Rock, you really know how to own the moment.

    I’m glad the show moved on, though. Less time showcasing your multi-instrumentalist chops means more time getting to the real meat of your career. “Cowboy,” “Only God Knows Why,” “Rock and Roll Jesus,” “Born Free.” These are the stuff fireworks are made of, and you brought plenty of that too.

    The amped up way you tore into “Only God Knows Why” was much different than the steely ballad on 1998's Devil Without a Cause, but Tuesday night’s performance absolutely called for it.

    Even after glittery bursts of pyrotechnics punctuated most of your set, I was still taken by absolute surprise when the perimeter of the stage went to full on flame throwing mode for your set list closer, “Bawitdaba.” Those fireballs were so big, so powerful, that I could feel the heat on my face from my seat in section 549. I couldn’t look away. As you brought the house down with that deliciously ridiculous blend of rap and metal that made you famous, it looked like a nuclear war zone on the field.

    Why oh why did you get a Tuesday night billing at RodeoHouston this year? You sent too many rowdy fans out of the stadium and back into the middle of their work week instead of the great American wild of a Spring Break weekend. Was it because this was the second time you lit a cigar on stage? I promise I won’t tell anyone about that if it means you get to play on a Friday the next time you visit NRG Stadium.

    Set List:

    First Kiss

    All Summer Long

    Wasting Time

    Johnny Cash

    Cowboy

    Picture

    Three Sheets To The Wind

    Rock and Roll Jesus

    Only God Knows Why

    Born Free

    Bawitdaba

    Kid Rock and his crowded band full of backup singers, saxophonists, interpretive dancers, and other musicians took the audience to heights previously only navigated by bald eagles.

    Kid Rock at Rodeo Houston
    © Michelle Watson/Catchlight Group
    Kid Rock and his crowded band full of backup singers, saxophonists, interpretive dancers, and other musicians took the audience to heights previously only navigated by bald eagles.
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    Movie Review

    Elizabeth Holmes' doc You Can See Everything is an audacious genre-bender

    Alex Bentley
    Oct 15, 2026 | 2:30 pm
    Nathan Fielder and Elizabeth Holmes in You Can See Everything
    Photo courtesy of A24
    Nathan Fielder and Elizabeth Holmes in You Can See Everything.

    Elizabeth Holmes faced one of the most public downfalls in recent history after she was accused of defrauding investors in her health technology company, Theranos. Her subsequent indictment and conviction drew the interest of many, including, it seems, comedian/actor/filmmaker Nathan Fielder. Fielder somehow convinced Holmes and her husband, Billy Evans, to make a documentary about her final days of freedom, called You Can See Everything.

    It’s not immediately clear why Fielder — who only has one previous feature-length documentary to his credit — is interested in profiling Holmes, but the approach that he and co-director Lance Oppenheim (Primetime) take is one that puts Fielder in the spotlight as much as her or Evans. Fielder looms over the couple — sometimes literally, sometimes from afar — as they care for their children, make meals, try to re-establish business relationships, and prepare for Holmes’ prison sentence, which is due to start about a month after the film begins in 2023.

    Fielder quizzes Holmes and Evans about predictable subjects — such as how Theranos worked, her relationship with COO Sunny Balwani, and her conviction — and ones that are slightly off-kilter, including the miniseries The Dropout, which dramatized Holmes’ rise and fall. He is met with seeming openness by both of them — the title of the movie is uttered by Holmes at one point — but there are times where their idea of transparency doesn’t jibe with Fielder’s expectations.

    Through it all, the quirky reputation that Fielder has from TV shows like Nathan for You, The Curse, and The Rehearsal colors his participation, as well. He appears sincere, if surprisingly intense, in his questioning, but there are more than a few moments where it’s fair to wonder if the whole thing is an act of performance art. That suspicion grows in the second half of the nearly three-hour film as Fielder and Oppenheim go down roads that stretch the definition of what a documentary is or can be.

    The film is utterly fascinating as the filmmakers go on what seems to be a full-on exploration of the meaning of truth. Holmes and Evans, either intentionally or unintentionally, carry on conversations with Fielder with wide-open, unblinking eyes, something that conveys honesty and creepiness in equal measures. Fielder meets them with squinting expressions, looking like he’s trying to determine how candid they’re actually being.

    One of the biggest things the film reveals (or does it?) is that — if she’s not a sociopath — Holmes might be someone who’s either oblivious or naive. As cryptic or strange as she can be in words and actions, Evans is even more so, and as the film progresses it’s him whose motives and ideas are called into question. Control over the narrative of the film wobbles back-and-forth between Fielder, Holmes, and Evans, and even at the end it’s unclear whose perspective has truly won out.

    There is no way to accurately get across what it’s like to watch You Can See Everything for the first time. The motives of everyone involved are up in the air, resulting in a roller coaster ride that’s full of astonishment, laughs, and a number of surprises. It’s an audacious film that can’t be categorized, one that will challenge the thinking of voters when it comes time for awards season.

    ---

    You Can See Everything opens in theaters on October 16.

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