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    Huge Concert News

    New winter music and arts festival boasts killer concert lineup: 5 entertainers we don't want to miss

    Elizabeth Rhodes
    Oct 8, 2015 | 5:49 pm

    Free Press Houston — known for organizing the massive annual music event, Free Press Summer Fest — has announced an incredible lineup for this winter's Day For Night, a two-day experiential art and music festival featuring superstar acts on par with those at the summer event.

    With headliners ranging from hip-hop sensation Kendrick Lamar and '80s rockers New Order to minimalist composer Philip Glass and R&B star Janelle Monáe, the event, which takes place in and around Silver Street Studios on December 19 and 20, is sure to rock Houstonians' expectations of future music festivals.

    Not only will Day For Night feature world-class musicians, but also leaders in various disciplines of digital art. The festival environment will be specifically designed around merging technology and sound and the way audiences experience them together.

    Although the entire lineup is astounding, here's a breakdown of a few of the can't-miss artists:

    Kendrick Lamar

    Hailing from Compton, 28-year-old Kendrick Lamar has risen to become a hip-hop superstar in just the last few years. His major-label album debut in 2012 with good kid, m.A.A.d city propelled Lamar to stardom, giving him three Top 40 tracks, including "Swimming Pools (Drank)," "Bitch, Don't Kill My Vibe" and "Poetic Justice."

    In March, Lamar's To Pimp a Butterfly debuted atop the U.S. Billboard 200 chart and established Spotify's global first-day streaming record with 9.6 million listens. Stunners like "King Kunta" and "Alright" showcase his talents for writing and delivery.

    New Order

    New Order's appearance at Day For Night is beyond significant as the famed English rockers haven't performed in Houston since playing at the Southern Star Amphitheater at AstroWorld on April 21, 1989. Formed in 1980, the group consists of the surviving members of legendary band Joy Division — Bernard Sumner and Stephen Morris — as well as Gillian Gilbert, Phil Cunningham and Tom Chapman.

    With immediately recognizable 80s hits like "Blue Monday," "Bizzare Love Triangle" and "Age of Consent" — as well as their latest album, Music Complete, released just last month — this promises to be one of the best performances in Houston this year.

    Philip Glass Ensemble

    While the festival features renowned artists of many genres, the inclusion of Philip Glass and his ensemble is perhaps the most welcome surprise of all. One of the most influential musicians and composers of the late 20th century and known for his signature minimal, repetitive stylings, Glass will perform on keyboard with his namesake ensemble that he founded in 1968.

    He is widely recognized for his film scores, including Academy Award-nominated compositions for Kundun, The Hours and Notes on a Scandal.

    Death Grips

    This experimental hip-hop group from Sacramento has had its fair share of ups and downs — including a temporary disbandment and canceled concert tours — but has managed to soldier on and continue to produce music unlike any other. After garnering attention for the 2012 album The Money Store, which includes popular tracks like "I've Seen Footage" and "Get Got," Death Grips has become notorious for noisy, bass-heavy tracks that feature lyrics with spitfire delivery.

    Their album Fashion Week was released in January and Jenny Death dropped on YouTube in March, leading fans to believe the group is certainly poised to continue their upward trajectory. With wild live performances that are often known to include the destruction of instruments, it is one the most anticipated Day For Night offerings.

    Dan Deacon

    As an impressive electronic musician known for frequently incorporating large-scale audience participation in his performances, Dan Deacon is the perfect choice for an experiential festival like this.

    Deacon, who came to notoriety with 2007's Spiderman of the Rings, honed his interactive live shows at smaller DIY spaces before launching at large venues. He performs on floor level within the audience with his musical devices set up on a table as he's completely surrounded by the crowd. Deacon even created a smartphone app that synchronizes with the live show, usually used during the song "True Thrush."

    With such a wonderful platform for interactive performances, Deacon's performance is one you'll want to catch at Day For Night.

    Check out the full lineup for all the musicians and artists performing at the festival.

    Dan Deacon.

    Dan Deacon for Day For Night promo
    survivingthegoldenage.com
    Dan Deacon.
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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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