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    RodeoHouston 2018

    Chris Stapleton brings outlaw blues to massive RodeoHouston crowd

    Chris Gray
    Mar 17, 2018 | 1:56 am
    Chris Stapleton RodeoHouston 2018
    Chris Stapleton drew one of RodeoHouston's biggest crowds.
    Photo by RodeoHouston

    It’s almost unfair to compare Chris Stapleton to other rodeo entertainers, this or any other year.

    Unfair, because it’s like he’s playing with a different deck of cards than anybody else in the game. Almost, because he drew an announced 75,014 people March 16 (with all of three other people onstage with him) .

    That’s four fewer people the February 27 attendance for Garth Brooks on February 27, for those keeping score at home.

    It was a great night for guitars and people who love songs about whiskey. The most significant visual effect was the amusing green light bathing NRG Stadium during “Dem Stems.” For all the good that super high-tech new rodeo stage did them, Stapleton and his bandmates might as well have been someplace like The Big Easy. They even stuck a few red plastic cups on their amps.

    But his songs are so sturdy and robust, full of slashing riffs and slow-cooked grooves, they had no trouble filling the stadium at all. Fans sang along lustily during “Nobody to Blame,” “Broken Halos,” and “Tennessee Whiskey.”

    The set opened with a hard-rocking “Midnight Train to Memphis” — shout-out to all you other Steeldrivers fans out there — before downshifting into a glowering Waylon tempo for “Dem Stems” and “Hard Livin’,” during which Stapleton winked at all the Johnny Cash fans with “I could never walk the line.”

    The whole band was dressed in black, by the way.

    Stapleton may look like an outlaw, but he’s really a bluesman at heart. That may sound like a funny thing to say about the person who wrote a song called “Outlaw State of Mind,” which the band stretched into a flinty, extended jam session. But he could not be less interested in jacked-up tailgates, mud tires or cutoff jeans, and his music is so much better for it.

    Instead, the people in Stapleton’s songs are feeling their age, wracked with regrets, or singing from a jail cell. Songs like “Might as Well Get Stoned” and “Fire Away” bubble up from the same nearly forgotten musical swamp as Tony Joe White or some of Skynyrd’s best songs — the simmering stuff like “Tuesday’s Gone” or “The Ballad of Curtis Loew.”

    The other real rocker, the garage-y “Second One to Know,” was practically a low-key ZZ Top tribute. Stapleton can really shred when he wants to, but you’d probably never hear that from him.

    Maybe his real superpower is his humility — he really comes off like all he wants to do is show up and play hard. He’s even funny as hell: his sung band introductions before “Tennessee Whiskey” drew big laughs when he revealed bassist J.T. Cure has two cats at home (“who miss him”), and that drummer Derek Mixon is “not as sensitive as J.T.”

    Stapleton also had some kind words for everyone down here still coping with our recent flooding-related tribulations. Pair that with some of the most potent Southern songwriting in a generation or two and it’s no wonder he’s become indescribably popular.

    Still wish his wife had been there singing with him this time, though.

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    Movie Review

    Clichéd rom-com You, Me & Tuscany can't get by on Italian charm alone

    Alex Bentley
    Apr 9, 2026 | 2:00 pm
    Halle Bailey and Regé-Jean Page in You, Me & Tuscany
    Photo by Giulia Parmigiani/Universal Pictures
    Halle Bailey and Regé-Jean Page in You, Me & Tuscany.

    The romantic comedy has become an endangered species in movie theaters, as most of those that are released these days go to streamers like Netflix. While there have been a few recent successful rom-coms in theaters, they are few and far between. All of which is to say that a movie like the new You, Me & Tuscany faces an uphill battle before it’s even released.

    Halle Bailey (The Little Mermaid) stars as Anna, a former culinary school student who’s struggling in the wake of her mother's death. When she has a chance meeting with an Italian man named Matteo (Lorenzo de Moor) in New York, her dream of going to the Italian region of Tuscany is reignited. Using her last $500 and a plane ticket her mom bought her, she makes her way to Italy looking for an adventure.

    With nowhere to stay and knowing Matteo’s villa is unoccupied, she finds a key and makes herself at home. When she finds an engagement ring soon before she’s discovered by Matteo’s family, she decides to pretend to be his fiancée. The more time she spends with them, the bigger the lie becomes, especially when she starts falling for Matteo’s adopted brother, Michael (Regé-Jean Page).

    Directed by Kat Coiro and written by husband-and-wife team Ryan and Kristin Engle, the film at times feels like it’s not even trying to be good. While the set-up of the premise is okay, the story quickly turns into an eye-rolling mess when Anna shows up in Italy. Not one bit of the character’s story is believable, and even though Michael catches her in an early lie, every member of the family accepts her at face value despite the abundant red flags.

    Of course, many rom-coms are not based in reality, and the filmmakers lean into the genre’s tropes, almost as if they were saying, “We know this makes no sense - just roll with it!” Surprisingly, the gambit works for the most part, as the odd pairing of an American woman, an English-Italian man, and his fully Italian family is enjoyable despite the many groan-worthy moments they produce. The sweet way in which the family brings in a woman still going through grief almost balances out the shoddy way in which the story is told.

    Naturally, there are precisely zero surprises about where the plot is heading, as Anna and Michael grow closer despite knowing they should resist the other. Strangely, though, the filmmakers don’t go all-in on the budding relationship, choosing to slow-roll things save for one notable sexy scene in a vineyard. Coiro and the Engles play up the family aspect as much as the romance aspect, and that choice allows the film to survive for longer than it should have.

    Bailey, a singer-turned-actor, has not yet found her stride on the acting side of things. Her line deliveries are often stilted and her timing is off in key moments. This doesn’t help her chemistry with older Page, who seems to be getting by on vibes and looks alone. The most enjoyable actors in the film are all Italian, including Marco Calvani, Isabella Ferrari, and Paolo Sassanelli.

    There are glimpses of a fully successful film in You, Me & Tuscany, enough to keep it watchable for its entire 104-minute running time. But then they have the Italian grandmother say a gobsmacking line like “If you wanna tap-a that ass, you should tap-a that ass,” and you remember exactly what type of film you’re watching.

    ---

    You, Me & Tuscany opens in theaters on April 10.

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