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    The Who did what?

    The Who abruptly postpones midway through electric Toyota Center performance

    Johnston Farrow
    Johnston Farrow
    Sep 26, 2019 | 12:00 am
    The Who Houston Toyota Center
    After eight songs, rock legends The Who ended a rockin' Toyota Center performance.
    Photo by J. Thomas Ford

    UPDATE: The Who has announced a rescheduled show for Houston on April 30, 2020 at Toyota Center. All tickets for the original date will be honored.

    ---

    The second iconic British act in the last few months after The Rolling Stones rolled into Houston to solidify its legacy as one of the most influential rock acts of all time. Unfortunately, the group couldn't make it halfway through its set.

    The Who celebrated its 55th year as a band this year and with the remaining living members — singer Roger Daltrey and guitarist Pete Townshend — hovering around three-quarters of a century with nothing much left to accomplish in their storied career.

    Backed by the stellar session drummer Zak Starkey (Ringo Starr's son); bassist and University of North Texas grad Jon Button; and Pete's brother, Simon Townshend, on backup guitar and vocals, the bandmates acted as if they still had a chip firmly on their collective shoulders. A full-scale orchestra added the requisite dramatics.

    Then, after eight songs, it was over.

    The Who, formed in London in 1964, always played the younger, bratty underdog to the Big Two in the U.K.: The Beatles and The Rolling Stones. But it made just as much of an impact coming out of the gate with a decade of stone-cold classic albums.

    Playing in front of a packed Toyota Center audience, they were set to lean into two of their most influential concept albums: the 1969 release Tommy and 1973's Quadrophenia.

    The band came out in fine form, despite the elder Townshend apologizing "the night would start off slow," as they worked through a mini-suite from the groundbreaking album Tommy. "Overture" made it clear the orchestra behind them would make this a special night with extra layers of sound, adding heft to songs from an album that would eventually be turned into a feature film starring Elton John and a hit Broadway play.

    And it did start off slow, with "Overture" laying into the orchestral arrangements of the classic Tommy. The band picked up steam through that album's "1921," "Amazing Journey," and "Sparks." Killer single "Pinball Wizard" got the middle-to-older aged fans off their feet, and Townshend sounded fantastic during the sprawling "We're Not Gonna Take It." After the mini-suite concluded, Townshend alluded to the band's history-making set 50 years earlier: "Even when we played at Woodstock, Keith Moon asked the crowd to keep it down because it was a f*cking opera."

    The Daltrey-led vocal of "Who Are You," known by a younger generation as the start of the hit show CSI, had the energy in the arena amped up. Then goosebumps were sufficiently raised with "Eminence Front," with an amazing display of guitar wizardry that recalled Townshend as the most inventive guitarist of his generation. It was the start of a fantastic, all-around performance.

    A quick break and then Townshend came to the mic to tell the audience the band could not go on.

    "We'll come back as soon as we can," Townshend said. "There's a bit of an issue where we do one day on, one day off. ... Roger's vocal surgeon insists he has a day off. So when we can come back, I don't know, but I swear to you, when we come back, we will honor your tickets."

    A sense of shock quickly spread through the arena as fans spilled out onto the streets.

    The group's killer start added to the unfortunate circumstances of the cancellation. An elder crowd was there to see their heroes, and the room was starting to get into night when the rug was pulled from under them.

    Many fans had already scored their mod logo concert T-shirts, and one fan exiting Toyota Center reacted, "I'm disappointed."

    The cancellation follows other shows in which Daltrey threatened to shut down the production due to being extremely allergic to marijuana smoke. CultureMap could not confirm this was the reason for the show ending prematurely. A representative from the Toyota Center offers: "Due to unforeseen circumstances, The Who concert tonight has been postponed to a later date. More info will be available soon.‬"

    Whatever the reason, everyone in attendance hoped for Daltrey's speedy recovery and The Who's quick return to finish an amazing start of a career-spanning set.

    Setlist
    With Orchestra
    "Overture"
    "1921"
    "Amazing Journey"
    "Sparks"
    "Pinball Wizard"
    "We're Not Gonna Take It"
    "Who Are You"
    "Eminence Front"
    "Imagine a Man"
    "Hero Ground Zero"

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    Movie Review

    Camp Miasma puts a comedic twist on the classic slasher movie

    Alex Bentley
    Aug 14, 2026 | 3:00 pm
    Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
    Photo courtesy of MUBI
    Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

    The horror genre really ramped up in the 1970s and ‘80s, bringing the slasher subgenre that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

    Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

    Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death — a transgender person who has an air conditioning vent as a head/mask — may not just be a character created for the movies.

    Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

    But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

    The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

    Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference — Norma Desmond from Sunset Boulevard — to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

    While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

    ---

    Teenage Sex and Death at Camp Miasma is now playing in select theaters

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