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    Singing In the Dirt

    Brad Paisley gets into Mutton Bustin' as he rocks the Rodeo — debates bullriding vs. baseball too

    Reid Schroder
    Mar 18, 2012 | 3:23 am
    • Brad Paisley knows how to play to a camera — or a crowd.
      Photo by © Michelle Watson/CatchLightGroup.com
    • Brad Paisley always looked like he was in complete command on the big ReliantStadium stage.
      Photo by © Michelle Watson/CatchLightGroup.com
    • Brad Paisley enjoyed his time on the stage during RodeoHouston, but he may haveliked his time in the dirt even more.
      Photo by © Michelle Watson/CatchLightGroup.com
    • Brad Paisley is not afraid of the spotlight.
      Photo by © Michelle Watson/CatchLightGroup.com
    • Brad Paisley has quickly become a Rodeo fixture.
      Photo by © Michelle Watson/CatchLightGroup.com

    Brad Paisley is an easy performer to like. His music is a healthy blend of both country and rock, and his songs contain both honesty and passion.

    Couple that with a little fiddle and a little slide guitar, serve it up with a large dose of stadium-ready rock bravado, and you’ve got a Brad Paisley concert in a nut shell. Because his music is so thoroughly catchy, he’s the sort of musician that could be considered a custom fit for a gig as large as the Houston Livestock Show and Rodeo.

    In fact, what struck me the most about Saturday night's concert on the penultimate day of the Rodeo was not only Paisley’s music, but his confidence as a performer. The size of Reliant Stadium didn’t seem to intimidate Paisley one bit. While the rodeo lights went out and fireworks began to fire up, Paisley slyly made his way to the stage to launch into “Camouflage” from his most recent album This Is Country Music, and he didn’t stop to take a break until the fourth song of the set.

    The size of Reliant Stadium didn’t seem to intimidate Paisley one bit.

    To reinforce the point of the “Camouflage,” Paisley came out wearing a camo T-shirt, but he went through a slight costume change later as a fan threw him bright green shamrock beads to wear in the spirit of the St. Patrick’s Day show.

    After many of Paisley’s songs, a little lip service to the Houston crowd would elicit much applause. “It’s great to be in the largest state in America!,” Paisley remarked after “Another Saturday Night,” quickly correcting himself for the geographic flub.

    I mean really, what native Texan hasn’t at one point wished that Alaska didn’t hold that coveted geographic title?

    As if the crowd-pleasing banter about Texas, bull riding versus baseball (he gave bull riding the edge, though I disagree), and our troops wasn’t enough, Paisley also treated the Houston crowd to a few local favorites from the annals of Texas country. The Waylon Jennings classic, “Good Hearted Woman,” segued perfectly into one of Paisley’s best-known songs, the playfully defiant “I’m Still A Guy” from 2007 album 5th Gear.

    An even bigger treat, though, came when Paisley sang a couple of verses from “Deep In The Heart Of Texas” before launching into a rollicking tribute to country music, aptly titled “This Is Country Music.”

    One thing that I wasn’t prepared for, but was pleasantly surprised to learn, was how talented of a guitar player Paisley really is. It’s hard to notice anything but his distinct voice and wry lyrics when listening to a Brad Paisley album, but his playing really shines in a live setting.

    After many of Paisley’s songs, a little lip service to the Houston crowd would elicit much applause.

    It wasn’t just the sound of his guitar that filled the stadium during solos, but also Paisley himself. He would fill the stadium floor by leaving the stage to greet fans near the ground level railing during every guitar solo. Late in the set, he used what looked like a fan’s beer bottle as a slide for his guitar, and then threw it back into the crowd near the railing.

    I later learned that it was possibly a microphone that he used for this stunt, and I’m still scratching my head as to which scenario is more "rock and roll."

    Saturday’s show could have easily been an hour and a half country-rock fest (and the majority of the show was heavy on the rock and roll), but Paisley sprinkled his set with just the right amount of material for those attending the show with their significant others. Numbers such as “She’s Everything,” and “Then,” from 2005’s Time Well Wasted and 2010’s American Saturday Night, respectively, added a sentimental backdrop to what seemed to be a stadium full of people that know the value of a good old-fashioned lovesick sing-a-long.

    These earnest on-stage moments aside, Paisley seemed to be having so much fun off the stage that he probably could have played the entire show near the fans behind the concourse railing. During the penultimate song, “Old Alabama,” and after leaving the stage for what seemed like the 10th time, he set up a mic stand and practically finished the show there in the dirt, hundreds of feet away from his band.

    From there, the show’s closer, “Alcohol,” took on an appropriate St. Patty’s Day tone by becoming a drunken chorus lead by Paisley and his expressive guitar playing.

    If you missed Paisley this time around, don’t fret. He's a RodeoHouston veteran and I would be very surprised if he didn’t get invited back next year. His brand of country music is just as much a part of the Rodeo spirit as Mutton Bustin’ (which Paisley tweeted about and joked about participating in), deep-fried Oreos, and that once-a-year pair of boots I caught many urban cowboys wearing at Reliant on Saturday.

    It’s hard to believe that this year’s Rodeo is almost over.

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    Awards Season

    CultureMap critic's guide to the 2026 Oscar Best Picture nominees

    Alex Bentley
    Jan 22, 2026 | 2:00 pm
    Michael B. Jordan and Miles Caton in Sinners
    Photo courtesy of Warner Bros.
    Sinners leads all films at the 2026 Academy Awards with a stunning 16 nominations.

    The nominations for the 2026 Academy Awards have been announced, with 10 films vying for Best Picture. Leading the way is Sinners with an astonishing 16 nominations, the most in Oscars history.

    The other top films include One Battle After Another, which earned 13 nominations, and Marty Supreme, Frankenstein, and Sentimental Value, which each got 9 nominations.

    As a refresher, below are links to the full reviews for each of the nominees covered by CultureMap in the past year, as well as brief thoughts on the films and their various nominations.

    Movie fans will have plenty of time to catch up with each of the nominees, as this year's Oscars ceremony will not take place until Sunday, March 15.

    Here's the list of Best Picture nominees, in alphabetical order:

    Bugonia
    Yet another off-the-wall film from director Yorgos Lanthimos features two great performances by Emma Stone (nominated for Best Actress) and Jesse Plemons at its center. Written by Will Tracy (nominated for Best Adapted Screenplay), the conspiracy theory film is alternately brutal and funny as the characters played by Stone and Plemons use their form of power to try to manipulate the other. With a fair amount of intrigue and two great actors going head-to-head for much of its running time, it gives even more Oscar pedigree to its filmmakers and stars.

    F1
    The biggest surprise among the Best Picture nominees has to be the racing movie F1. It was a technical marvel, to be sure, as its nominations in Film Editing, Sound, and Visual Affects attest. But the fact that it has no other nominations in any of the above the fold categories indicates that its other qualities are lacking. As a showcase (aka advertisement) for the sport it depicts, the film works relatively well. As a complete movie, though, there’s not much to recommend, to the point that it almost negates any of the positives that come from the racing scenes.

    Frankenstein (not reviewed)
    Writer/director Guillermo del Toro (nominated for Best Adapted Screenplay) loves himself a monster movie, and he takes on one of the classics with his new version of Frankenstein (now streaming on Netflix). Oscar Isaac plays Victor Frankenstein, who brings to life The Creature, played by Jacob Elordi (nominated for Best Supporting Actor). With a slew of nominations in technical categories, there's a chance this film goes home with a lot of awards at this year's ceremony.

    Hamnet (not reviewed)
    Writer/director Chloé Zhao (nominated for Best Director and Best Adapted Screenplay alongside co-writer Maggie O'Farrell) gets back to her Oscar-worthy skills for the first time since 2020's Nomadland (after the unfortunate detour into the MCU with Eternals). A story about love, loss, and grief involving William Shakespeare and his wife, Agnes, the film is most notable for the performances of its two leads, Jessie Buckley (nominated for Best Actress) and Paul Mescal.

    Marty Supreme
    There was no other movie this year, or maybe even this century, like Marty Supreme. Directed and co-written by Josh Safdie (nominated for Best Director and Best Original Screenplay alongside co-writer Ronald Bronstein), the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives. At its center is the fast-talking, powerhouse performance by star Timothée Chalamet (nominated for Best Actor), who cements his status as his generation’s movie star one year after playing the polar opposite role of Bob Dylan in A Complete Unknown. Look for the film to be a strong contender in the inaugural Best Casting category, as Safdie fills the film with non-actors who are crucial to the film's success.

    One Battle After Another
    Writer/director Paul Thomas Anderson (nominated for Best Director and Best Adapted Screenplay) has an acclaimed career going back 30 years, but has yet to actually win an Oscar. That will change this year, as One Battle After Another is one of the favorites to win Best Picture thanks to Anderson's stellar filmmaking, as well as multiple great performances that earned the film four acting nominations (Leonardo DiCaprio for Best Actor, Teyana Taylor for Best Supporting Actress, and Benicio Del Toro and Sean Penn for Best Supporting Actor). Add in a story with a very timely political critique (that's getting more relevant by the day) and you have the recipe for a big winner on Oscar night.

    The Secret Agent (not reviewed)
    No foreign country has quite the influence on the Oscars as Brazil, which for the second straight year has gotten one of its films nominated for both Best International Feature Film and Best Picture. Written and directed by Kleber Mendonça Filho, the film is anchored by the performance of Wagner Moura (nominated for Best Actor) as a technology expert in the late 1970s who flees from a mysterious past to try to find peace in his hometown.

    Sentimental Value (not reviewed)
    For the third year in a row, two international films made the cut in the Best Picture race (but whither It Was Just an Accident?). Directed and co-written by Joachim Trier (nominated for Best Director and Best Original Screenplay alongside co-writer Eskil Vogt), the film is tied for the most acting nominations this year, earning nods for Renate Reinsve for Best Actress, Elle Fanning and Inga Ibsdotter Lilleaas for Best Supporting Actress, and Stellan Skarsgård for Best Supporting Actor.

    Sinners
    It takes a special kind of filmmaker to make movies that are both popular and Oscar-worthy, and writer/director Ryan Coogler (nominated for Best Director and Best Original Screenplay) has done it again, seven years after helming the Oscar-winning Black Panther. Both a tribute to Black music history and a gnarly vampire movie, the film is led by Michael B. Jordan (nominated for Best Actor) in dual roles as twins Smoke and Stack. With a story infused with all manner of subtext and a bunch of great supporting performances, including Best Supporting Actress nominee Wunmi Mosaku, the film demonstrates Coogler's great filmmaking abilities that should keep him in demand for years to come. Amazingly, there was only one category for which it was eligible in which it did not receive a nomination.

    Train Dreams (not reviewed)
    The second Netflix movie this year to be nominated, Train Dreams is a contemplative film about a logger (played by Joel Edgerton) in early 20th century America who tries to adapt to a rapidly-changing world. Nominated for Best Adapted Screenplay for the script by director Clint Bentley and co-writer Greg Kwedar, the film is most notable for the work done by Adolpho Veloso (nominated for Best Cinematography), who showcases the Pacific Northwest in all its glory.

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