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    Middle-age crazy

    What, no "Layla?" Eric Clapton still plays a mean guitar but concert leaves audience wanting more

    Clifford Pugh
    Jane Howze
    By Clifford Pugh and Jane Howze
    Mar 17, 2013 | 2:28 am

    Midway through Eric Clapton's 50th Anniversary Tour, which touched down at the Toyota Center Saturday night, not many in the decidedly older audience had stood up from their seats, even though warm applause greeted the fabled British singer/guitarist after each song.

    (Looking at the sold-out crowd, a friend remarked this was not their first concert and given the ages of many, it could well be their last.)

    Oblivious to the fracas, Clapton continued his performance in the way he had all night. He was the consummate professional if not much of a showman.

    But when Clapton launched into "Wonderful Tonight," a middle-aged couple two rows down from us couldn't contain themselves. They jumped up and began slow dancing in the middle of their row, they bodies tightly intertwined as if they were reliving their youth when the song was first released in 1977.

    The sight was apparently too much, as one person tossed a beverage at them and another middle-aged rocker complained loudly. A war of words ensued as friends stepped in to prevent a full-fledged brawl. A cop eventually was called to the section, one of the couples left and everything calmed down as Clapton's band, coincidentally, played "How Long (Has This Been Going On?)."

    It was the most exciting thing that happened the entire evening.

    Oblivious to the fracas, which was far away from the stage, Clapton continued his performance in the way he had all night. He was the consummate professional if not much of a showman.

    Other than "Good evening," "Thank you," and mumbling the names of his band members, the 67-year-old singer/guitarist hardly said anything throughout the nearly two-hour performance. Until he played and sang the Cream hit, "Crossroads" (the 17th song in the evening's 21-song set), he didn't move from the center of the stage — and then he only walked briefly to stage right a couple of times without acknowledging the audience.

    After 50 years in the business, Clapton does not appear to feel the need to impress anyone in what might be one of his last large concert tours. (He said he plans to quit touring at age 70.) Unlike a Paul McCartney who winks, grins, and charms the socks off of everyone in an arena, Clapton has always preferred to let his guitar do the talking.

    And, boy, can he still play a mean guitar.

    On a stage in front of a simple black curtain backdrop, Clapton opened with a charmer, "Hello Old Friend," from his 1976 album, No Reason to Cry, and then riffed and jammed through a host of bluesy tunes, including "Little Queen of Spades"(a 1937 song written by bluesman Robert Johnson and recorded by Clapton in 2004) and "Black Cat Bone," from his just released album, Old Sock.

    Throughout the evening, you got the feeling that Clapton would be just as happy jammin' with his music pals in a small, smoky New Orleans joint rather than in a cavernous auditorium — or even in a room with no one else around at all. For him, it really is all about the music.

    And the camera person flashing the images on the Jumbo screens around the vast arena seemed to agree, as close-ups of Clapton's hand performing a particularly intricate riff on the guitar were continuously displayed in larger-than-life fashion.

    In one of evening's highlights, Clapton sat on a chair with an acoustic guitar in an extended set and simply played and sang a series of quiet songs — “Driftin’ Blues, “Nobody Knows You When You’re Down and Out," the achingly beautiful “Tears In Heaven,” “Goodnight, Irene” (a great sing-along tune) and the previously mentioned “Wonderful Tonight."

    Not surprisingly, Clapton got the most applause for his greatest hits, including "I Shot the Sheriff" and "Cocaine," which was the real high of the evening as most of the audience finally jumped up and danced. But many fans were shocked he didn't perform "Layla," considered one of rock music's most definitive love songs. Clapton performed it to wild applause in Phoenix when he kicked off the tour a few days ago, but for some inexplicable reason omitted it from the Houston show.
    Even so, if not overly demonstrative, the audience was appreciative and you could still feel the love for Clapton. It just seemed odd to leave a concert wanting more.

    Eric Clapton has always preferred to let his guitar do the talking.

    Eric Clapton, Toyota Center, March 2013
    Photo by Jane Howze
    Eric Clapton has always preferred to let his guitar do the talking.
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    Movie Review

    Dakota Fanning-led The Sun Never Sets needs more direction

    Alex Bentley
    Sep 4, 2026 | 3:30 pm
    Dakota Fanning in The Sun Never Sets
    Photo courtesy of Independent Film Company
    Dakota Fanning in The Sun Never Sets.

    The movies of writer/director Joe Swanberg have always been an acquired taste, as he prefers to give his actors a loose framework of a story and let them improvise most of their lines to give the films a more natural feel. Sometimes that approach can yield great results, and sometimes — as in The Sun Never Sets — it can result in addled and maddening storytelling.

    Wendy (Dakota Fanning) is in her early 30s and at a crossroads in her life. When a friend announces she’s pregnant, she starts to re-evaluate what she wants, including her two-year relationship with the older Jack (Jake Johnson). Although they love each other, their disagreements on having more children and extracurricular activities call their long-term viability into question.

    Jack, not wanting Wendy to settle, encourages her to explore her options where they live — Anchorage, Alaska — telling her he’ll be waiting should she strike out. What he doesn’t expect is that Wendy’s ex-boyfriend, Chuck (Cory Michael Smith), has returned to the city, giving her an attractive alternative. The three engage in a love triangle that proves frustrating and confusing for both the participants and the viewers.

    What works best about the film is its location in Alaska, which rarely gets showcased in movies, and even more rarely in the way it is here. The story takes place in warmer months, and Swanberg gives his characters multiple opportunities to be outside, showing off Anchorage’s harbor, surrounding mountains, and seemingly vibrant city life. The subtle but effective way Swanberg frames various scenes makes the landscape enormously appealing.

    It’s too bad, then, that the story never measures up to its surroundings. Too often Fanning, Johnson, Smith, and others seem to be grasping for their next line, unsure of what they want their character to do or say next. That lets their scenes mimic real conversations, but you might not realize how much you want scripted dialogue until you see actors trying to come up with their own in the moment.

    The larger issue is that there’s no consistency from scene to scene about where the plot is heading. The characters of Wendy, Jack, and Chuck are extremely wishy-washy about their desires, with each of them vacillating back-and-forth in just how much they want to be with each other. Depending on your experience, this may or may not be true to life, but watching it is excruciating and not enjoyable or romantic in the slightest.

    As actors, Fanning, Johnson, and Smith are talented and interesting, with each capable of connecting with viewers in different ways. But working in improvisation is a different beast, and only Johnson — who has worked with Swanberg multiple times — seems truly at home. A few others, like Debby Ryan and Anna Konkle, do well in the format and maybe deserved bigger parts.

    Swanberg has proven in the past that his method of filmmaking can be insightful and entertaining, but that is not the case here. In The Sun Never Sets, his hands-off approach is a detriment to the flow of the film and the story as a whole, resulting in an experience that is far from what most viewers will want to go through.

    ---

    The Sun Never Sets is now playing in select theaters.

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