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    The Return of White Oak Music Hall

    Rockin' Heights music venue announces first post-lockdown live shows

    Johnston Farrow
    Johnston Farrow
    Jun 17, 2020 | 2:20 pm
    White Oak Music Hall stage concert
    Head to White Oak Music Hall on Friday to catch indie rock legends Modest Mouse perform with Future Islands.
    Photo by Julian Bajsel/WOMH Facebook

    Houston's suffering live music scene received an injection of good news this week when the popular White Oak Music Hall announced its first shows in three months.

    It's welcome news, as things are bleak for music venues across the country. National and internationally known acts are canceling or suspending tours until 2021 out of an abundance of caution around the coronavirus. According to a recent article in Pitchfork.com, the absence of crowds in music-driven spaces led to over 2,000 live music venues and promoters to form the National Independent Venues Association, an advocacy group that has been lobbying Congress the past few months in an effort to get relief as the music industry struggles to deal with the fallout from the COVID-19 pandemic.

    That makes White Oak's return a reason to celebrate with doors opening this Saturday, June 20, with DeadEye, the Grateful Dead tribute band from Austin. The venue also just announced Spill the Tease on Saturday, June 27, a burlesque show in support of Pride Month with performers, Cyn City, The Abby Cadabra, Emma Vaudeville, Daisy L'Amour, Cara Chérie, and Eddie Divas. The event will include a raffle to support the Hatch Youth Services which helps at-risk LGBTQ+ youth.

    Like other recently opened venues, White Oak will take extra precautions for the safety of patrons and staff. All shows will take place in the venue's large indoor hall and will be seated performances. The usual capacity of 1,500 will be reduced to no more than 25 percent with certain shows set up with tables for groups of four, socially distanced 6 feet apart.

    "Behind the scenes, we were really just working on what it looks like when we reopen, what it looks like when things loosen up in terms of restrictions," Mike Mauer, marketing director for White Oak Music Hall, tells CultureMap. "We just rolled out our new safety guidelines for how we're going to do shows as well as we announced the burlesque show on the 27th. We're trying to be very careful and very intentional and make sure as we scale up and start to get busier, that all of our policies are locked tight and will keep everyone safe to enjoy the show."

    Personal protection equipment will be required for all staff, they will go through temperature checks before clocking in, and anyone that may have come into contact with someone symptomatic will be required to be tested before they return to work.

    All guests will be encouraged to wear masks unless they are sitting with their group, sanitization stations will be set-up, and bathrooms reconfigured for more space. All purchases will be card only and an app will allow patrons to buy drinks from servers at their seats.

    And while staff at White Oak tells CultureMap that the newly announced shows aren't out of desperation, three months without paying patrons and bar sales has been a struggle.

    "It's definitely been pretty challenging," Mauer says. "Similar to other venues, we were definitely effected. It's been a challenge for the entire music industry in general but for us, we've been lucky that we've had a lot of support in the community."

    To help out-of-work staff, the venue set up a GoFundMe account that offered contributors various items for donating at different levels, including posters, limited edition shirts, gift certificates for future shows, and a behind-the-scenes architectural tour of the venue. It's raised nearly $70,000 so far, a clear indication of White Oak's diehard fan base.

    While only a few shows are on the calendar, White Oak is uniquely situated to do more with its space, and staff are currently discussing how to utilize the spacious lawn stage for larger acts while maintaining social distancing. Organizers are working with artists to sort out details around booking lawn shows later this summer while keeping it safe for all involved.

    "We're really looking at how to utilize that right now," Mauer says. "Thankfully, the virus is much more difficult to spread in an outdoor setting and since White Oak is one of the only venues in Houston with a layout like that, we're really focused on how to use that space to have more outdoor concerts, and have more people enjoy a show but still make it a safe experience for them. We're moving in the right direction and we'll probably be able to make an announcement sooner rather than later."

    Upcoming performances will stick to local and regional acts with Nite with Camera Cult and Moonlight Hotel on June 25, William Clark Green with Chris Colston on July 10, NateWantsToBattle on July 13, Cash and Maverick on July 18, and Brandy Clark on July 29. Tickets are available at whitoakmusichall.com.

    Regardless of safety measures and reduced capacities, there's no doubt many music fans will be willing to overlook any inconveniences to get back to one of the best spaces in the city to see concerts and performances.

    White Oak Music Hall, 2915 N Main, is set to bring live shows back starting this Friday.

    White Oak Music Hall stage concert
    Photo by Julian Bajsel/WOMH Facebook
    White Oak Music Hall, 2915 N Main, is set to bring live shows back starting this Friday.
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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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