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    Music Matters

    Life as a sixtysomething Eagles groupie: Epic tour closing with rare warmth from cellphone phobic legends

    Jane Howze
    Oct 15, 2014 | 5:04 pm

    The Eagles landed in the Toyota Center again Tuesday night for the next-to-the-last performance of their "History of the Eagles Tour," which launched in Louisville 15 months — and more than 100 concerts — ago. The band visited both Dallas and Houston twice on this tour, with a sold out Houston performance in February, which I wrote about back then.

    Again this time, the nearly sold-out crowd was closer to retirement age than college age, though there were a number of younger fans who were there because their parents introduced them to the music.

    This newbie Eagles fan fell in love with the group not in the '70s when college friends were rocking to their many hits. I was introduced to them as more than background music in their highly-acclaimed documentary, History of the Eagles, which premiered at Sundance in 2013 As I wrote then, what I liked about them was, of course, the music, but also the back story.

    But because this tour is at its end, there was a more obvious and palpable looseness and warmth to the concert.

    Isn’t that what makes everyone interesting?

    The Eagles, like so many rock bands of the '70s, had a well-known, drug-fueled, conflict-ridden and seemingly joyless run, interspersed with brilliantly inspired songs written by co-leaders Glenn Frey and Don Henley. The band disbanded in 1979, only to reunite in 1994, and have enjoyed the coveted “second act” that has included playing to sold-out stadiums worldwide for the past 20 years.

    With my business travel, I have had the good luck (sometimes using a little special planning) of seeing them several times during this, their probably last tour. OK, count me in at nine concerts. It is a little embarrassing to be a sixtysomething groupie. As one of my college friends said, “Girl, it is time for you to grow up!”

    Given their ages — bumping up against 70 — it seems likely that the Eagles will probably not undertake this type of tour again. The concert I wrote about from Philadelphia last July was not much different from Tuesday night’s performance, which is a good thing, but it gave me a different perspective.

    What is there to get out of seeing the same concert nine times besides noticing that Henley wears the same 1960s plaid shirt every freaking performance?

    If you like the music, the pleasure seeing a band perform multiple times is not much different from seeing your favorite team or athlete perform again and again. You admire the craftsmanship, you relish seeing artists still at the top of their game and if you listen to their songs on the radio or play their CDs multiple times, why not see them in person if you have the opportunity?

    It is a little embarrassing to be a sixtysomething groupie. As one of my college friends said, “Girl, it is time for you to grow up!”

    Diehard Eagles fans know that like with Paul McCartney, Bruce Springsteen and U-2, you can expect to not be disappointed. The Eagles, in my experience, have never turned in a bad performance. But because this tour is at its end, there was a more obvious and palpable looseness and warmth to the concert.

    The band has been criticized as being so in control and so perfect as to be workmanlike and passionless.

    Henley, one of the great pop voices of all time, can be a little grumpy, but he smiled and made jokes throughout. When introduced, he even made faces at the camera. He said with real warmth and gratitude that the Eagles would not be here without their fans. Frey’s vocals were clear and strong, his electric piano on "I Can't Tell You Why" hauntingly good, yet he looked noticeably leaner than 15 months ago and he had bandages on both wrists and his fingers. Yep, time stands still for no one.

    Eagles Set List Soars

    The Eagles played all of the great songs that their fans still remember, note for note and word for word, with the first half devoted to a narrative with slower tempo ballads such as “Peaceful Easy Feeling” and “Witchy Woman,” and ending with “Take it to the Limit” (without the high notes hit by original singer Randy Meisner).

    As with earlier concerts, Frey announced an intermission so he could go to the bathroom, but added a comment, “I know you all can’t wait to check your cellphones," he cracked.

    It was an emotional concert from an unemotional band.

    The Eagles are notorious for having the ushers keep the audience in their seats with their cellphone stowed, and in an earlier review of this tour, I criticized the Eagles for being grumpy old men because they refused to allow photographs during the concerts. This started as a gentle admonition during the first concerts but by their first concert in Houston ushers patrolled the aisles, often interrupting the audience’s enjoyment by pushing their way into an aisle to enforce the no pictures policy.

    But you know what? I decided to stop griping and just go with the rules and I get it. It was wonderful to take in the concert with my ears, eyes and heart, rather than with my camera.

    The second act continued down memory lane with Joe Walsh taking center stage, a seemingly unscripted and a natural ham as well as one of the most talented guitarists around, delivering rousing, foot stomping renditions of “Life’s Been Good” and an expanded version of his “In The City.”

    And an Eagles concert would not be an Eagles concert with the haunting “Hotel California” and Henley’s soulful “Desperado.” The band appeared to have a sense of the ending of a chapter as they lingered on stage, taking in the affection and appreciation. It was an emotional concert from an unemotional band.

    Even though the Eagles could do the concert in their sleep, each performance has been richer and more nuanced, with additional cameras and new arrangements of several songs. Knowing that the audience loves the Eagles’ between songs commentary, there is more camaraderie and Bernie Leadon takes a role narrating the band’s history.

    When introducing one of the final songs, “In the Long Run,” Henley remarked that in 1979, when the song came out, the Eagles' music was being over shadowed by disco. In response the audience booed. Henley laughingly said, “And what do you hear of disco today? And we are still here,” to raucous cheers.

    With Wednesday night’s San Antonio concert the band will conclude their U.S. tour. I hope the Eagles will take flight again, and based on the audience’s reaction Tuesday night, their fans do too. But if not, their soaring vocals and poignant lyrics will live in my memory if not my camera.

    The Eagles concert tour, indeed, is just about over.

    The Eagles at Toyota Center February 2014
    Photo by Jane Howze
    The Eagles concert tour, indeed, is just about over.
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    Awards Season

    CultureMap critic's guide to the 2026 Oscar Best Picture nominees

    Alex Bentley
    Jan 22, 2026 | 2:00 pm
    Michael B. Jordan and Miles Caton in Sinners
    Photo courtesy of Warner Bros.
    Sinners leads all films at the 2026 Academy Awards with a stunning 16 nominations.

    The nominations for the 2026 Academy Awards have been announced, with 10 films vying for Best Picture. Leading the way is Sinners with an astonishing 16 nominations, the most in Oscars history.

    The other top films include One Battle After Another, which earned 13 nominations, and Marty Supreme, Frankenstein, and Sentimental Value, which each got 9 nominations.

    As a refresher, below are links to the full reviews for each of the nominees covered by CultureMap in the past year, as well as brief thoughts on the films and their various nominations.

    Movie fans will have plenty of time to catch up with each of the nominees, as this year's Oscars ceremony will not take place until Sunday, March 15.

    Here's the list of Best Picture nominees, in alphabetical order:

    Bugonia
    Yet another off-the-wall film from director Yorgos Lanthimos features two great performances by Emma Stone (nominated for Best Actress) and Jesse Plemons at its center. Written by Will Tracy (nominated for Best Adapted Screenplay), the conspiracy theory film is alternately brutal and funny as the characters played by Stone and Plemons use their form of power to try to manipulate the other. With a fair amount of intrigue and two great actors going head-to-head for much of its running time, it gives even more Oscar pedigree to its filmmakers and stars.

    F1
    The biggest surprise among the Best Picture nominees has to be the racing movie F1. It was a technical marvel, to be sure, as its nominations in Film Editing, Sound, and Visual Affects attest. But the fact that it has no other nominations in any of the above the fold categories indicates that its other qualities are lacking. As a showcase (aka advertisement) for the sport it depicts, the film works relatively well. As a complete movie, though, there’s not much to recommend, to the point that it almost negates any of the positives that come from the racing scenes.

    Frankenstein (not reviewed)
    Writer/director Guillermo del Toro (nominated for Best Adapted Screenplay) loves himself a monster movie, and he takes on one of the classics with his new version of Frankenstein (now streaming on Netflix). Oscar Isaac plays Victor Frankenstein, who brings to life The Creature, played by Jacob Elordi (nominated for Best Supporting Actor). With a slew of nominations in technical categories, there's a chance this film goes home with a lot of awards at this year's ceremony.

    Hamnet (not reviewed)
    Writer/director Chloé Zhao (nominated for Best Director and Best Adapted Screenplay alongside co-writer Maggie O'Farrell) gets back to her Oscar-worthy skills for the first time since 2020's Nomadland (after the unfortunate detour into the MCU with Eternals). A story about love, loss, and grief involving William Shakespeare and his wife, Agnes, the film is most notable for the performances of its two leads, Jessie Buckley (nominated for Best Actress) and Paul Mescal.

    Marty Supreme
    There was no other movie this year, or maybe even this century, like Marty Supreme. Directed and co-written by Josh Safdie (nominated for Best Director and Best Original Screenplay alongside co-writer Ronald Bronstein), the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives. At its center is the fast-talking, powerhouse performance by star Timothée Chalamet (nominated for Best Actor), who cements his status as his generation’s movie star one year after playing the polar opposite role of Bob Dylan in A Complete Unknown. Look for the film to be a strong contender in the inaugural Best Casting category, as Safdie fills the film with non-actors who are crucial to the film's success.

    One Battle After Another
    Writer/director Paul Thomas Anderson (nominated for Best Director and Best Adapted Screenplay) has an acclaimed career going back 30 years, but has yet to actually win an Oscar. That will change this year, as One Battle After Another is one of the favorites to win Best Picture thanks to Anderson's stellar filmmaking, as well as multiple great performances that earned the film four acting nominations (Leonardo DiCaprio for Best Actor, Teyana Taylor for Best Supporting Actress, and Benicio Del Toro and Sean Penn for Best Supporting Actor). Add in a story with a very timely political critique (that's getting more relevant by the day) and you have the recipe for a big winner on Oscar night.

    The Secret Agent (not reviewed)
    No foreign country has quite the influence on the Oscars as Brazil, which for the second straight year has gotten one of its films nominated for both Best International Feature Film and Best Picture. Written and directed by Kleber Mendonça Filho, the film is anchored by the performance of Wagner Moura (nominated for Best Actor) as a technology expert in the late 1970s who flees from a mysterious past to try to find peace in his hometown.

    Sentimental Value (not reviewed)
    For the third year in a row, two international films made the cut in the Best Picture race (but whither It Was Just an Accident?). Directed and co-written by Joachim Trier (nominated for Best Director and Best Original Screenplay alongside co-writer Eskil Vogt), the film is tied for the most acting nominations this year, earning nods for Renate Reinsve for Best Actress, Elle Fanning and Inga Ibsdotter Lilleaas for Best Supporting Actress, and Stellan Skarsgård for Best Supporting Actor.

    Sinners
    It takes a special kind of filmmaker to make movies that are both popular and Oscar-worthy, and writer/director Ryan Coogler (nominated for Best Director and Best Original Screenplay) has done it again, seven years after helming the Oscar-winning Black Panther. Both a tribute to Black music history and a gnarly vampire movie, the film is led by Michael B. Jordan (nominated for Best Actor) in dual roles as twins Smoke and Stack. With a story infused with all manner of subtext and a bunch of great supporting performances, including Best Supporting Actress nominee Wunmi Mosaku, the film demonstrates Coogler's great filmmaking abilities that should keep him in demand for years to come. Amazingly, there was only one category for which it was eligible in which it did not receive a nomination.

    Train Dreams (not reviewed)
    The second Netflix movie this year to be nominated, Train Dreams is a contemplative film about a logger (played by Joel Edgerton) in early 20th century America who tries to adapt to a rapidly-changing world. Nominated for Best Adapted Screenplay for the script by director Clint Bentley and co-writer Greg Kwedar, the film is most notable for the work done by Adolpho Veloso (nominated for Best Cinematography), who showcases the Pacific Northwest in all its glory.

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