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    RodeoHouston 2018

    OneRepublic mostly rocks out at RodeoHouston

    Johnston Farrow
    Johnston Farrow
    Mar 15, 2018 | 5:51 am
    rodeohouston one republic ryan teder
    OneRepublic lead singer Ryan Tedder dropped octaves, and names.
    Photo courtesy of RodeoHouston

    Call it a wild-card.

    Last year, RodeoHouston took a gamble when programming electronic act The Chainsmokers and pop-punk band Blink-182, with varying levels of success. OneRepublic took the honors of being the odd rock band out when the 2018 line-up came out earlier this year, a safer choice than those two previous acts that wouldn’t upset the sensibilities of many rodeo goers, even country diehards, especially a younger audience — of 70,929 — coming out to celebrate a March 14 night on spring break.

    OneRepublic albums are middle-of-the-road rock that Top 40, adult contemporary and alt-rock radio are happy to play as people motor through their day. Take some Maroon 5 vocal strut, pseudo-Coldplay choruses, Mumford and Sons harmonies and guitar strums, and a dose of M83 lite synths, add them to a musical blender — and you’ll get a facsimile of what this Colorado Springs six-piece sounds like.

    Give it to lead songwriter and vocalist Ryan Tedder — he made a career on writing songs that do just enough to prevent folks from changing the station.

    He made the point for us during his band’s 14-song set: “For those of you who have ever gone grocery shopping in their life, raise your hands – you’ve heard this song,” he told the audience just before the “Yellow”-esque hit single “Stop and Stare.”

    And if you didn’t know how famous Tedder was, he let us know often, namedropping all those he’s written or produced songs for including Adele, Carrie Underwood, U2, and Paul McCartney. He and his band are big, people.

    But how would this melodic lite rock come across with the boots and saddles crowd used to seeing some of the biggest country acts in the world?

    Thankfully, the group has enough stadium-sized hooks to make a show like this interesting and moments throughout the night made an impact. Opener “Love Runs Out” from 2014 album Native was a driving piano-led tune got ticket holders revved up, leading to another Top 40 single, “Secrets” from 2009 smash Waking Up, which made good use of cello player Brent Kutzle.

    A two-song interlude of Tedder-penned songs was well received. First, a cover of the Beyoncé slow jam “Halo” had the stadium lit up with cell phones, Tedder’s expert piano playing and vocal trills mixing perfectly with Kutzle’s cello pairing. The youth also gave approval to the follow up, a cover of Ed Sheeran’s “Happier.”

    Their No. 2 hits, “Apologize,” made famous by a Timbaland remix, released on the group's 2007 debut Dreaming Out Loud; and the Native LP bestseller, “Counting Stars,” got the crowd clapping and singing along, the latter being one of the few times it felt like NRG was rocking on Wednesday night.

    Tedder’s Adam Levine-like vocals were silky smooth throughout and showed impressive range, as if he was trying to fill the stadium with his voice alone. But in terms of showmanship, five of the six members of OneRepublic stood firmly in place, methodically and professionally plying their wares. While Tedder claimed the Stars Over Texas stage was the “absolute coolest rotating stage I have ever been on in my entire life,” he made very little use of the distinctive five points, instead preferring to stay in the confines of his bandmates.

    “Something always feels settled and good and calming when in Texas,” Hedder said, before breaking into the pure schmaltz of another Top 40 hit, “I Lived.” Unfortunately, for those who saw other acts like Garth Brooks and Leon Bridges earlier at RodeoHouston, no one told him that it’s okay to bring the heat to NRG.

    OneRepublic came and did what they were paid to do, which was play the hits. Like the band’s musical output, it did just enough to get the job done, only too many of their songs sounded like one extended soundtrack doing little to distinguish themselves. As the final notes of pretty, EDM inflected set-closer “If I Lose Myself Tonight” rang out, the crowd orderly filed towards the doors, content to go on with their lives after another night at RodeoHouston.

    One Republic Set list

    “Love Runs Out”
    “Secrets”
    “Kids”
    “Good Life”
    “Deep In The Heart of Texas” interlude
    “Wherever I Go”
    “Stop and Stare”
    “Halo” (Beyoncé cover)
    “Happier” (Ed Sheeran cover)
    “I Lived”
    “All The Right Moves”
    “Apologize”
    “Counting Stars”
    “If I Lose Myself Tonight”

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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