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    Live Music Now

    These are the top 6 must-see concerts in Houston this week

    Johnston Farrow
    Johnston Farrow
    Apr 10, 2018 | 8:00 pm

    This is easily one of the best weeks in music in Houston — in terms of sheer selection and star wattage; music fans will be busy. Here are this week's best shows.

    Best dance party in the Bayou City
    Los Angeles via Brooklyn indie-dance duo Matt and Kim built a positive reputation and a successful career off their high energy shows, consisting of only a keyboard and drums and two very enthusiastic performers. While seemingly underwhelming on paper, the charisma of Matt Johnson and Kim Schifino make it work, drawing audiences worldwide into their very own private dance party. Expect to hear new tracks from their upcoming sixth album, Almost Everyday, and songs that you assuredly heard via car commercials or at their last Houston appearance at Free Press Summer Fest in 2016. For more, read our CultureMap interview with Matt here.

    Matt and Kim will have the audience pogoing at White Oak Music Hall, located at 2915 N. Main St., on Friday, April 13. CRUISR and TWINKIDS open. Tickets are $30 in advance plus fees. Doors open at 8 pm.

    Best nostalgia trip of the week
    Fans of '90s rock, rejoice! Sponge​, underrated alt-rock band of yesteryear returns to Houston to perform the sweet, sweet platinum-selling album Rotten Pinata in it's entirety at the Scout Bar this Saturday. While some of it has definitely aged as much as the band has, the hits still hold up, including the riff-tastic "Plowed" and acoustic-driven ballad "Molly (Sixteen Candles)." The Detroit act may be well past their heyday, but for those who made modern rock radio a must-listen nearly 25 years ago, this will be a fun trip down nostalgia lane.

    Sponge relives the '90s at Scout Bar, located at 18307 Egret Bay Blvd. on Saturday, April 14. 5 Dollar Thrill, Empty Shells, Seven to Emote, Luna Lunacy open. Tickets start at $14 in advance. Door open at 7 pm.

    Old meets new, jazz meets modern pop
    Bust out the fedoras, suspenders and flapper dresses and get ready to dance, old school style with a new school twist. Take the biggest and best songs from the last twenty years and filter them through the lens of swing, ragtime and New Orleans jazz and you have Scott Bradlee's Postmodern Jukebox. Whether it's a Bille Holliday-esque take on the White Stripes' "Seven Nation Army," a 1920 waltz of Radiohead's "Creep," or a jazzy ragtime version of Oasis' "Don't Look Back and Anger," fans of all genres will find something to like from this performance.

    Scott Bradlee’s Postmodern Jukebox performs at House of Blues, located at 1204 Caroline St., on Sunday, April 15. Tickets start at $35 plus fees. Doors open at 7 pm.

    The '80s meets future sexy funk sounds
    The smartest duo in all of music, Chromeo brings it's '80s-indebted electro funk to Houston. Founded in 2002 by David "Dave 1" Macklovitch and Patrick "P-Thugg" Gemayel, the former holds his PhD in French Literature and has lectured at Columbia University, with the former an accountant when not rocking the synths on stage. Together, they have combined the smooth A.M. radio sounds of Hall and Oates and Prince with four-to-the-floor beats and slinky basslines, with a knowing wink to the past — while embracing futuristic sounds. The world-touring act will likely be dropping new tracks from their upcoming 2018 album, Head Over Heels.

    Chromeo brings the electro-funk to House of Blues, located at 1204 Caroline St., on Wednesday, April 18. Phantoms & Wrestlers open. Tickets start at $33 plus fees. Doors open at 7 pm.

    The Foos in HOU
    You got to give it to the affable rocker Dave Grohl, the man's a survivor. Following the suicide of Kurt Cobain and dissolution of Nirvana, undoubtedly the most influential band of the last 25 years, Grohl picked up the pieces and formed the Foo Fighters, which has gone on to produce more hits than his former band. The Foos bring their Concrete and Gold Tour to Houston, promoting the 2017 album of the same name. If you haven't purchased tickets yet, get on it — this one has a good chance of selling out.

    Foo Fighters and their catalogue of alt-rock hits come to the Cynthia Woods Mitchell Pavilion on Thursday, April 19. The Struts open. Tickets start at $45 for the lawn, $99 for seated and pit. Doors open at 6 pm.

    A big country star in an intimate venue

    It's a rare occasion when country fans get to see a multi-million album selling artist perform in a venue that holds a few hundred people. Nashville roots star Lee Ann Womack makes a rare intimate stop at the Heights Theater this week as part of her All the Trouble tour. She has won Grammys, Country Music Awards, and sung for Presidents, and now touring her latest acclaimed album, The Lonely, the Lonesome, and the Gone, which she recorded in this fine city's SugarHill Recording Studios. For those who love old school country, sung in the classic Nashville style, this is a must-see show. Move quickly on tickets - standing room and VIP seats are all that's left.

    Lee Ann Womack performs at the Heights Theater, located at 339 W. 19th Street, on Thursday, April 19. Vandoliers open. Standing room tickets are available at $28 in advance plus fees. Doors open at 7 pm.

    Scott Bradlee's Postmodern Jukebox brings a touch of old school to the new at House of Blues on Sunday, April 15.

    Scott Bradlee's Postmodern Jukebox
    Postmodern Jukebox/Facebook
    Scott Bradlee's Postmodern Jukebox brings a touch of old school to the new at House of Blues on Sunday, April 15.
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    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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