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    Live Music Now

    These are the 6 best concerts in Houston this week

    Johnston Farrow
    Johnston Farrow
    Oct 8, 2019 | 1:40 pm

    Is Houston a bad live music city?

    The uglier side of local audiences reared its head again this weekend at the Raconteurs show at Revention Music Center with several complaints coming from crowd members on social media that accused others of being discourteous and loud during a show by a band that's known for being, well, loud.

    What's even stranger is that the show was a no-phones space, meaning that the band's management required every ticket holder to place their cell phone in a lockable pouch, which only unlocked if the patron moved to a designated area. Maybe it was a case of everyone discovering the joys of no screen time and felt inclined to share their every waking thoughts with those around them.

    Let's practice a little common courtesy, folks. A concert space should be like going to the movies — keep the speaking to a soft whisper and let people through if they are trying to get to their friends/significant others if they had to use the restroom or refill their beverages.

    CultureMap's biggest, best, and most notable shows of the week are as follows:

    CultureMap recommends: Mumford & Sons at Toyota Center
    You can thank Mumford & Sons for the popularization of "whoa-oh-ohs" that have pervaded pop and rock music like an invasive species. Arcade Fire may have started the current trend on their debut album Funeral, but it was the London act that brought it to the mainstream with their huge first album Sigh No More that produced the inescapable singles, "Little Lion Man," and "The Cave," which mixed Arcade Fire's driving rhythms with furious acoustic folk strums. They rode those "whoa-oh-ohs" to international fame and celebrity wives (lead singer Marcus Mumford is married to actress Carey Mulligan).

    Their latest is the experimental Delta, which seems to be less of the "whoa-oh-ohs" and has been seen as a critical misstep. Go figure. But this band has too many hit songs to discount and it will surely pack out the Toyota Center this Tuesday night.

    Mumford and Sons perform at Toyota Center, located at 1510 Polk St., on Tuesday, October 8. Gang of Youths open. Tickets start at $29 plus service fees. Doors open at 6 pm.

    Great Van Fleet at Smart Financial
    Greta Van Fleet, the second coming of Led Zeppelin comes to Houston promoting the release of their second album, Anthem of the Peaceful Army. While universally panned for their output due to its die-hard allegiance to the House of Plant and Page, the Michigan based act found an audience early on with their Zep-aping debut From the Fires, landing on the covers of music magazines and even a slot on Saturday Night Live.

    It could have been a case of young musicians playing to their influences, but Anthem... was more of the same. These guys have talent, to be sure, let's hope that they find their own sound as they grow as musicians.

    Greta Van Fleet headlines Smart Financial Centre at Sugar Land, located at 18111 Lexington Blvd. in Sugar Land, on Wednesday, October 9. Shannon and the Clams open. Tickets start at $39.50 plus fees. Show starts at 8 pm.

    CultureMap show of the week: Billie Eilish at Toyota Center
    Not since Nirvana have we seen an artist or group touch a cultural nerve like Los Angeles native Billie Eilish. Starting at a grassroots level, releasing singles sporadically, all produced by her brother in his bedroom, Eilish grew her audience through smart marketing in a digital sphere. Her sound incorporates dark elements and skittering pop beats, a mix of Nine Inch Nails, and Ariana Grande that sits comfortably on the Billboard Top 100 as it does on alternative radio.

    Did we mention she's only 18 years old and she holds the record as the first artist born in the 2000s with a No. 1 song ("Bad Guy")? And that she forgoes any sense of sex appeal, wearing ultra baggy clothing to place the focus on her music? Celebrities and teenagers alike are flocking to her shows, she's selling out tours, defying gravity on Saturday Night Live in a clip that will go down in music history, and she has one of the biggest albums in recent memory with When We Fall Asleep, Where Do We Go? What were you doing when you were 18?

    Billie Eilish performs at Toyota Center, located at 1510 Polk St., on Thursday, October 10. Duckwrth opens. Tickets start at $39.50 plus service fees. Doors open at 6:30 pm.

    Banks at HOB
    Like James Blake, who played House of Blues last Sunday, Banks plies her trade in alternative pop and R&B with heavy emphasis on synths and manipulated vocals. Like Billie Eilish, the California native used the power of the internet to rise to fame, attracting pop, R&B, EDM, and indie fans alike, her first album, 2014's Goddess landing high on the Billboard charts. Her progressive pop adventures continue on the critically acclaimed third album, aptly named III, which features the killer dance-inflected first single, "Gimme."

    Banks plays House of Blues, located at 1204 Caroline St., on Thursday, October 10. Kevin Garrett opens. Tickets start at $26.50 plus fees. Doors open at 8 pm.

    Jon Pardi at White Oak Music Hall
    Fast-rising country singer Jon Pardi rolls into Houston armed with a new album that includes some well known credits. First single from his new album Heartache Medication, "Don't Blame it on the Whiskey," features the songwriting talents of Eric Church and Miranda Lambert among other Nashville hitmakers.

    The California native — it seems to be California week on Houston stages — made significant inroads with his second album, California Sunrise, which earned No. 1 status on country charts and No. 1 singles "Head Over Boots," "Dirt On My Boots" and "Heartache on the Dancefloor." Expect big things from Pardi in the future, who is now playing to mid-sized venues across the country.

    Jon Pardi plays the White Oak Music Hall lawn, located at 2915 N. Main St., on Friday, October 11. Riley Green opens. Tickets start at $39.50 plus fees. Doors open at 7 pm.

    Judah and the Lion
    Nashville band Judah and the Lion hit the mainstream in 2017 with the widely heard No. 1 alt-rock single "Take It All Back" before releasing this year's Pep Talks. The album's material is a classic look at the attempt of handling success through the viewpoint of lead singer Judah Akers. It also helps that the No. 2 alt-rock album features chanteuse du jour Kacey Musgraves. They're on a headlining tour following opening slots with Twenty One Pilots, Incubus, and Jimmy Eat World.

    Judah and the Lion are at the Revention Music Center, located at 520 Texas Ave., on Friday, October 11. Tickets start at $35 plus fees. Doors open at 7 pm.

    CultureMap show of the week: Billie Eilish performs at Toyota Center on Thursday, October 10.

    Billie Eilish
    Photo courtesy of Billie Eilish
    CultureMap show of the week: Billie Eilish performs at Toyota Center on Thursday, October 10.
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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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