Live Music Now

These are the 5 best concerts in Houston this week

A big welcome back is in order to one of H-towns best bands, The Tontons.

The local five-piece recently released new single, "Sychophant," featuring the airy, sultry vocals of charismatic singer Asli Omar over the chiming guitar jangle and melodic rhythym section we've come to love (concluding with a killer guitar solo). It is rumored the group is working on new music for a potential full-length to follow-up 2014's acclaimed Make Out King and Other Stories of Love. The song is available to listen to on Spotify and other streaming services. It's about time.

The Tontons just announced a December 28 show at the Heights Theater with psych-soul Austin band Black Pumas. Tickets are on sale now.

Meanwhile, here are CultureMap's best, biggest, and most notable shows for the week ahead.

Manchester Orchestra at HOB
Manchester Orchestra is neither from Manchester, nor an orchestra. (Discuss.) The Atlanta-based group fills the same sphere as War on Drugs, Cloud Nothings, and Gaslight Anthem in that they make sonically pleasing music that critics adore and sound great at festivals, but don't necessarily make a huge impact on the mainstream. That said, their latest, 2017's A Black Mile to the Surface, was darkly majestic alt-rock at its finest, one of last year's best offerings.

Manchester Orchestra is at House of Blues, located at 1204 Caroline St., on Tuesday, November 27. The Front Bottoms and Brother Bird open. Tickets start at $30. Doors open at 6:30 pm.

CultureMap show of the week: Cat Power
Cat Power aka Chan Marshall rolls into town and offers up a live performance of songs from of one of the best albums of 2018 in the gorgeous Wanderer, which harkens back to her earlier creative peak. Marshall started her career suffering from crippling stage fright, but she's since overcome it to become one of the better performers on the indie circuit. She's attracted collaborators among some of the most famous musicians in the world, including Lana Del Rey and Dave Grohl. In other words, she's a gem, producing some of the most compelling music of the last 20 years. Don't miss this one.

Cat Power headlines White Oak Music Hall, located at 2915 N. Main St., on Wednesday, November 28. Tickets start at $32 plus service fees. Doors open at 7 pm.

Travis Tritt and Charlie Daniels Band
Those who like their country music gritty and as Southern fried will want to be sat around the rotating Arena Theatre stage this Thursday when country legends Travis Tritt and the Charlie Daniels Band team-up to bring their long line of hit C&W songs to what will surely be receptive Houston audience. Tritt and Daniels can both be described as flag bearers for the rebel country movement, replete with conservative values that neither are shy to share up-and-front through their song lyrics. In other words, there's a lot to like here for those of a particular side of the political spectrum or those who appreciate a dose of rock riffs and astute storytelling with their country music.

Travis Tritt and The Charlie Daniels Band co-headline Arena Theatre, located at 7326 Southwest Fwy. on Thursday, November 29. Tickets start at $49.50. Show starts at 8:30 pm.

CultureMap recommends: Gary Clark Jr. at Revention
The ghost of Stevie Ray Vaughn lives on in Austin performer Gary Clark Jr., one of the most respected guitarists in the game right now. Anyone who saw him tear it up at his Super Bowl Live performace in early 2017 knows the guy can wail on the six-string and fill a big space. His show at Revention will feel positively intimate compared to that gig, but fans will all be better for it as he'll likely be playing new cuts from his yet-to-be-named new album, set for release in 2019. Clark has been on the verge of blowing up nationally in a big way - this might be his smallest concert in Houston for some time to come.

Gary Clark Jr. performs at Revention Music Center, located at 520 Texas Ave., on Friday, November 30. Tickets start at $45. Doors open at 7 pm.

Gregory Porter at Cullen Theater
Known for his distinctive headwear, the ultra-talented jazz vocalist Gregory Porter brings his entrancing voice and sound to Cullen Hall. Porter is a two-time Best Jazz Vocal Album Grammy Award winner for Liquid Spirit (2014) and 2017's Take Me to the Alley (2017). His rich baritone and merging of jazz, gospel, soul, and R&B has earned him fans around the world. Porter will be a part of KPVU's Holiday Jazz and Gospel Fest alongside co-headliner Avery Sunshine.

Gregory Porter is at Cullen Theater at the Wortham Center, located at 501 Texas St., on Sunday, December 2. Tickets start at $90. The show starts at 5 pm.

Manchester Orchestra is at House of Blues this Tuesday, November 27.

concerts nightlife column music

Movie review

Messy Frankenstein movie The Bride! stitches camp and confusion

Photo by Niko Tavernise

Christian Bale and Jessie Buckley in The Bride!.

The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

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The Bride! is now playing in theaters.

movies film maggie gyllenhaal annette bening christian bale jessie buckley peter sarsgaard penélope cruz movie review