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    Live Music Now

    These are the 7 best concerts to catch in Houston this week

    Johnston Farrow
    Johnston Farrow
    Jul 31, 2018 | 12:05 pm

    Before the shows of the week, congratulations are in order for Houston's very own soul act, The Suffers, who celebrated a No. 8 placement on the Billboard R&B charts for the band's new album, Everything Here, in its debut week, before heading off to play a scorching set at the famed Newport Folk Festival. That's a fine way to represent the 713.

    This week, we have another big-time Houston performer celebrating an anniversary, big shows from alt-rockers, some New Wave legends, and a buzzworthy act to catch. Here are the biggest and best shows of the week.

    CultureMap recommends: Caroline Says
    Formed by singer-songwriter Caroline Sallee in Austin in 2014, Caroline Says takes its band name from a Lou Reed song. The group sounds much like that inspiration, with dreamy alt-rock songs, off-kilter rhythms, sumptuous harmonies, and simplistic melodies combining into one infectious brew. The group’s latest, No Fool Like an Old Fool also incorporates elements of acoustic-picked folk that recall Elliot Smith at his finest. Few bands come into town with as much critical acclaim as Caroline Says, including mentions on NPR, Pitchfork, and Stereogum. Find out what all the fuss is about.

    Caroline Says plays the Continental Club, located at 3700 S. Main St., on Thursday, August 2. Jessica Risker, Velveteen Echo, and Astragal open. Tickets are $10 at the door. Show starts at 9:30 pm.

    Slim Thug celebrates 20 years
    One of the major players of the Houston "chopped and screwed" Southern rap renaissance of the late-'90s, Slim Thug went on to commercial success in the mid-2000s, finding fame on the Houston anthem, the independent and platinum-selling single and forever bangin', "Still Tippin'." He's released albums on the massive Interscope label (Dr. Dre runs it now), even appearing on a No. 1 hit for Beyoncé. His height came in 2005, when Already Platinum, hit No. 2 on the Billboard charts. But he got his start putting out mixtapes in the late-'90s, often appearing with other Houston rap stars, Mike Jones and Paul Wall. Thug will commemorate those exciting times in Houston with a 20th anniversary party at White Oak this weekend. No word on if his old cohorts will make an appearance, but don't be surprised if it turns into a guest-filled throwdown.

    Slim Thug hits White Oak Music Hall, located at 2915 N. Main St., on Friday, August 3. Tickets start at $44 plus a $15.60 service charge. Doors open at 7 pm.

    Panic! at the Disco
    Back with their sixth album, Pray for the Wicked, emo-rock survivors Panic! at the Disco (and their grammatically incorrect exclamation point) are currently on an arena tour, seemingly bigger than ever. If you like pomp and circumstance, Panic! has got you covered, with their latest record, including single "Saturday Night," expanding the sound way past their more humble beginnings. But one thing that remains consistent is lead singer Brandon Urie's penchant for over-the-top vocals and professional-grade showmanship.

    Panic! at the Disco headline the Toyota Center, located at 1510 Polk St., on Friday, August 3. Arizona and Hayley Kiyoko open. Tickets start at $30.75 plus service charges. Doors open at 6 pm.

    Houston International Jazz Festival
    The Houston International Jazz Festival celebrates its 28th year, with all proceeds benefiting Jazz Education Inc., which provides "training and educational activities for school age youth in the field of music, using concepts and subjects not fully covered by private and/or public school systems," according to its website. The three-day event features a wide variety of touring talent. Events start in Friday, August 3 at the Kick Off Party and Hot Jazz Night at Sugar's in Missouri City featuring the Summer Jazz All-Stars. Saturday night is the Ladies of Horn and Song at House of Blues with saxophonist Mindy Abair and the Boneshakers, flautist Althea Rene, and vocalist Ashleigh Smith. Sunday is Mayor Sylvester Turner's Scholarship Brunch at the Hobby Center. All proceeds go to a good cause.

    The 28th Houston International Jazz Festival runs Friday, August 3 through on Sunday, August 4. Tickets prices vary per day. More information available at the Jazz Fest website.

    Imagine Dragons plays another sold out Houston show
    For better or worse, Imagine Dragons love Houston and Houston loves Imagine Dragons. It seems like the band bred for shilling stuff plays here every year, selling out bigger venues with each successive performance. This time around, it's Cynthia Woods Mitchell Pavilion hosting the Las Vegas natives, with lawn tickets head-scratchingly going for as high as $145 on the resale market as they promote their latest monster album, Evolve. Be sure to show up early, as the charming, America's Got Talent wunderkind, Grace VanderWaal, starts the proceedings — she quite possibly has more talent than the headliner.

    Imagine Dragons headline Cynthia Woods Mitchell Pavilion, located at 2005 Lake Robbins Dr. in The Woodlands, on Saturday, August 4. Grace VanderWaal opens. Tickets start at $145 plus service fees via the resale market. Gates open at 6 pm.

    CultureMap show of the week: New Wave heroes Erasure
    It's hard to overstate the importance of Erasure. Not only were they huge in the New Wave/synth-pop world, but the sexuality of lead singer Andy Bell made them icons on the LGBTQ scene, something revolutionary in the '80s, where being open and gay often was seen as a disastrous business decision. Thankfully, Bell was backed up by Vince Clarke, one of the co-founders of Depeche Mode, and writer of some of that band's early and still great hits, including "Just Can't Get Enough." Clarke brought his airtight pop sensibilities to the monstrous singles, "Chains of Love," "A Little Respect," and "Love to Hate You." This show will be one helluva party.

    Erasure shares their storied catalog at the Smart Financial Center at Sugar Land, located at 18111 Lexington Blvd., on Sunday, August 5. Tickets start at $39 plus service charges. Show starts at 7:30 pm.

    Pretty fly: The Offspring and 311
    There was a time — ahem, the late-'90s — when it was nearly impossible to turn on rock radio and not hear either The Offspring or 311. One was the California punk band that we all thought was the harder version of Green Day; the other was a bunch of bros with a penchant for reggae-inflected rap-rock. The fact is, both bands put out some decent (for the time) singles that still are played on rock radio which treats anything produced before 1998 as the crowning era of all music. And to be completely fair, The Offspring's debut, Smash, was pretty great for a spell with singles, "Come Out and Play" and "Self-Esteem," perfectly channeling teen angst in suburbs everywhere before the band turned into a jokey singles act (see the still awful "Pretty Fly"). As for 311, they have that one tune, "Down." They'll both relive the high points at Cynthia Woods this weekend.

    The Offspring and 311 co-headline the Cynthia Woods Mitchell Pavilion, located at 2005 Lake Robbins Dr. in The Woodlands, on Sunday, August 5. Tickets start at $27.50 plus service fees. Gates open at 6 pm.

    Panic! at the Disco bring their emo-rock pomp to the Houston Toyota Center on Friday, August 3.

    Panic! at the Disco
    Photo by Jimmy Fontaine
    Panic! at the Disco bring their emo-rock pomp to the Houston Toyota Center on Friday, August 3.
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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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