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    Live Music Now

    These are the 5 best concerts in Houston this week

    Johnston Farrow
    Johnston Farrow
    Aug 28, 2019 | 6:00 am

    There's a cold front on the show calendar the week ahead of Labor Day, so let's start off with an incident that has a lot of local music fans hot.

    Massive hometown rap star Travis Scott made a special guest appearance at James Harden's charity concert on Friday, August 24, to a Revention Music Center full of young fans. Despite photographers being told by the venue they could shoot the show, Scott wasn't having any of it, threatening assault on and physically shoving the cameras of professional photographers in the photo pit.

    One video posted on Instagram by local radio station 93.7 The Box shows Scott winding up to kick one photographer before he stops himself, instead deciding to push the likely expensive gear down from their face. Shortly after that, someone motions from the stage for photographers to immediately clear out, whether for their own safety or at the request of Scott's handlers (maybe both).

    View this post on Instagram

    #TRAVISSCOTT just turned #JHTownWeekend19 upside down 🚀🚀🚀 #Houston #HTX 🎥: @ashleeonair

    A post shared by 93.7 The Beat (@937thebeat) on

    Aug 23, 2019 at 10:30pm PDT

    Scott's move toward the dark side is reminiscent of a late-2017 incident when Queen of the Stone Age frontman Josh Homme kicked the camera into the face of a working photographer, which drew international press and general condemnation from everyone, and led Homme to publicly apologize for his behavior.

    It's one thing to not want photographers in the pit. That's something that can be sorted out ahead of time by publicists and managers. And many shows place a song limit on photographers before they have to stop shooting. But sources told CultureMap that venue management placed no such limitations on photographers that night.

    Hopefully, the artists at the following shows will have a little more professional courtesy. CultureMap's biggest, best, and most notable shows of the week are as follows:

    CultureMap show of the week: The Backstreet Boys at Toyota Center
    Backstreet's back, alright! Long after the boy band heyday, one of the biggest acts of the Total Request Live era, the Backstreet Boys, is still going strong and selling out arenas with now-middle aged (mostly) female fans with extra money to blow. Their fantasy crushes will no doubt croon and grind to their biggest hits — and there were plenty of them. To put it in perspective, the 1999 record by Nick, Brian, A.J., Kevin, and Howie, Millennium, sold more than 30 million copies worldwide on the strength of singles "I Want It That Way," "Larger Than Life," and "Show Me the Meaning of Lonely."

    While tastes quickly faded many other imitators into pop culture oblivion, the Boys stuck with it, kept releasing music, mounting big-scale tours. Amazingly, they hit No. 1 in the U.S. for the first time in 20 years with this year's DNA. Husbands and boyfriends, be ready to partake in some big, cheesy fun. You never knew the mother of your children could scream so loud.

    The Backstreet Boys are back at Toyota Center, located at 1510 Polk St., on Saturday, August 31. Tickets start at $45, plus service fees. Doors open at 7 pm.

    Neon Indian at WOMH
    Denton, Texas native, Alan Palomo aka Neon Indian has been steadily building a fanbase in Houston with his icy cool synth-pop. He'll headline the ¡Eso Es! Concert tour, which show organizers describe as "acts that represent a mix of Latinx artists making waves both regionally and nationally."

    While Neon Indian hasn't put out anything since 2015's critically acclaimed Vega Intl. Nigh School, he makes frequent stops in the Bayou City to packed audiences. He'll be joined by the equally impressive Los Angeles artist Empress Of, whose 2018 album, Us, was an enjoyable slice of Robyn-esque electro-pop. Selena fans will want to check out her tribute act with the spot on name, Bidi Bidi Banda.

    Neon Indian headlines the ¡Eso Es! Concert line-up at White Oak Music Hall, located at 2915 N. Main St., on Thursday, August 29. Empress Of, La Goony Changa, Tickets start at $25.50, plus fees. Doors open at 6 pm.

    Rascal Flatts at Smart Financial
    Let's let the official bio from Rascal Flatts do the talking: "One band. Ten albums. Sixteen Number One hits. Over 23 million records and 10 million tickets sold." Not too shabby for a country act from Columbus, Ohio. The trio formed in the late-'90s and immediately rose up the country charts upon their 2000 self-titled debut, becoming the biggest selling country act of the mid-aughts with uncanny pop crossover skills. They are huge in Houston too, having played to a massive RodeoHouston audience in 2018. Expect to hear the hits, "I'm Movin' On," "These Days," and "Bless the Broken Road."

    Rascal Flatts play Smart Financial Centre at Sugar Land, located at 18111 Lexington Blvd. in Sugar Land on Thursday, August 29. Jimmie Allen will play as well. Tickets start at $35.50, plus fees. The show starts at 8 pm.

    DJ Pauly D and Afrojack
    Long weekends are for raving, apparently, as local EDM venue Stereo Live opens its doors for two high-profile shows, one from a reality TV star and the other from an actually great DJ. DJ Pauly D made his name as a highly accessorized Italian-American kid on the inexplicably huge MTV show Jersey Shore. He flipped that fame into an inexplicably successful DJ career, keeping those party nights going and hair spray manufacturers in business. He'll take to the stage on Friday night.

    Meanwhile, Danish producer Afrojack aka Nick van de Wall is regularly named by EDM publications as one of the best live performers in the game, plying his trade in house anthems that regularly fill clubs and festivals across the globe. He'll play Sunday night and, for our money, is the better pick of the two, if you like to get sweaty to big beats and laser light shows.

    DJ Pauly D and Afrojack are at Stereo Live, located at 6400 Richmond Ave., on Friday, August 30, and Sunday, September 1, respectively. Tickets for Pauly D start at $15 and Afrojack starts at $40. Doors open at 10 pm for both shows.

    The Backstreet Boys are at Toyota Center on Friday, August 30.

    Backstreet Boys band
    Photo courtesy of Backstreet Boys
    The Backstreet Boys are at Toyota Center on Friday, August 30.
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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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