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    Jonas Brothers Review

    Jonas Brothers celebrate RodeoHouston return by setting new attendance record

    Johnston Farrow
    Mar 15, 2024 | 11:47 pm
    Jonas Brothers RodeoHouston 2024

    The band broke the mark set by Los Tigres Del Norte on Sunday.

    RodeoHouston/Facebook

    Fifteen years after their last appearance as teen stars, the now fully-grown up Jonas Brothers – Kevin, Joe, and Nick – conquered their second headlining perfromance at RodeoHouston on Friday, March 15 by setting an all-time attendance record with 75,600 fans.

    The night’s show made the case that pop groups can get better with age via an exciting mix of hit singles from their songbook over the course of their 75-minute show. While the trio operates in the same space as other pop-rock acts like Maroon 5 or OneRepublic, their Disney star past meant that their fans have grown up with them.

    They now have a nearly two decades of hits – including five Billboard top five albums — to pull from, and those years of experience paid off on the star-shaped stage. They seemingly knew exactly what their audience wanted with a set that had nothing but smashes. In reality, they could have played the birthday song 12 times, and it still would have been the loudest show of the year.

    Before they launched Jonas Brothers 2.0 in 2019, the group took a long hiatus that allowed the three brothers to branch out into solo careers, side-projects, acting in movies (most notably Nick in a star-making turn in Jumanji), TV shows, and more. So with the release of the comeback No. 1 Billboard Hot 100 single, “Sucker,” in 2019, they’d gained a multitude of new fans, mostly the children of the suburban women who had their posters on their bedroom walls back in the early-2000s. Plenty of tabloid fodder that came from marriages to famous actresses and an impending divorce surely didn't hurt their visibility.

    Several sold-out arena tours under their belt (including two huge shows at Toyota Center last year), and a couple of actually good comeback records were the cherry on top, making the Jo-Bros one of the biggest bands in the pop world. They were an excellent choice to play RodeoHouston on the Friday that falls on spring break for many Houston students. The fact that they shattered the all-time attendance record almost shouldn't be a surprise.

    The Jonas Brothers were sneakily talented, at ease on stage playing with each other, and they appeared to be having a good time. They are also extremely tight musicians, coming in hot from the middle of their 90-date “The Tour” world tour, a setlist comprised of songs from across their career, much like Taylor Swift’s The Eras Tour. A backing band featuring solid professionals playing brass, strings, keyboard, and drums took their sound to the next level.

    Unfortunately, with RodeoHouston’s time constraints, the trio could only perform 14 songs, but they didn’t miss when they condensed their usual 33-song setlist.

    Opener “Celebrate!” from their latest album, The Album, harkened back to ‘70s funk groups like Earth, Wind and Fire, Joe taking lead singer duties, dressed in a pink and black western shirt, leather pants and black cowboy hat.

    The 2020 single, “What a Man Gotta Do,” featured vocal trade-offs between Joe and Nick, the latter dressed in a red shirt and jeans pulling electric guitar duties, while Kevin played acoustic guitar dressed handsomely in full blue denim. The song elicited a cacophony of screams that assured some form of hearing loss for all those in the seats. “Waffle House” from 2023’s The Album kept the decibels high.

    “We had a few incredible stops in Houston, but this is next level,” Nick said, addressing the youthful, mostly female throng. “We usually play for a few hours, but we have to play the highlights tonight. That said, we think it’s important to bring it back to where it started — how many OG Jonas Brothers fans are in the house?"

    That drew what might have been the loudest cheers of the entire RodeoHouston season before kicking into the 2007 smash, “S.O.S,” from their self-titled second album. The brothers all joined in on vocals for the best performance of the night so far.

    “Cool,” from 2019 comeback album, Happiness Begins, brought a sugary rush with an undeniable chorus. The one-two acoustic ballad punch of Joe's “Gotta Find You" from mouse-house flick, Camp Rock, and Nick's "Introducing Me” from Camp Rock 2 slowed things down, the singalong nearly drowning out the singers on stage. Follow-up “Play My Music” was one of the most upbeat numbers of the night.

    “For a big part of our life we spent time in Texas,” Joe said, alluding to their youth spent in Westlake, near Austin. "We actually wrote this next one with our dad.”

    “When You Look Me in the Eyes” brought out thousands of cellphone flashlights, one of the closest country music-sounding songs so far. The emo-pop tune and top 40 hit, “Year 3000” — actually from the year 2007 and quite obviously a song of their youth — was a Blink-182 song if that band were more earnest and wholesome. A contagious, stadium-wide, round of clapping broke out.

    “Jealous”, the No. 7-charting Nick solo song allowed for him to take the spotlight in a brown cowboy hat, his high-octave vocal prowess on full display. He took a bow and a hat-tip and deserved it.

    Joe commandeered the stage next with the excellent “Cake by the Ocean." The No. 9 hit by his side-project DNCE allowed that band’s guitarist, JinJoo Lee, a moment to shine, utilizing the stage starpoints to make sure the entire venue felt like they were a part of the party. The song ended with a wicked Lee guitar solo.

    And no headliner can go wrong with a cover of “Friends In Low Places" by the highest-selling country artist in history and multi-time RodeoHouston headliner, Garth Brooks. While not the strongest executed performance of the night — they admitted they were still learning the song — it united the entire audience. Dads who brought their daughters to the show were thankful that they actually recognized one.

    “Lovebug” was an epic rush, before going headlong into the biggest song of the night in “Burnin’ Up,” the top five single from the record, A Little Bit Longer. “Only Human," the other huge hit from their 2019 comeback album, Happiness Begins, kept the energy at 11, the bangers seemingly endless.

    “Sucker,” the No. 1 hit comeback single from that same album sounded as good as it did when it was released, with some impressive whistling by Joe, the women in the crowd audibly expressing their approval. And finally, the ballad “Leave Before You Love Me” served as the easy comedown— melodic hints of Wham’s melancholic-sweetener, “Last Christmas.”

    With that, the brothers hopped onto the back of a pick-up truck as the announcer notified us we were all a part of RodeoHouston history. While previous 2024 RodeoHouston shows leaned definitively towards the adult side, the now seasoned pros reminded us that family friendly headliners can still fill the building.

    It'd be a shame to make us wait another 15 years to get the Jonas Brothers back to RodeoHouston.

    Setlist
    Celebrate!
    What a Man Gotta Do
    Waffle House
    S.O.S
    Cool
    Play My Music
    When You Look Me in the Eyes
    Year 3000
    Jealous
    Cake By the Ocean
    Friends in Low Places
    Lovebug
    Only Human
    Sucker
    Love Me Before You Leave Me

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    Movie Review

    Safe cracking takes center stage in new heist movie Tuner

    Alex Bentley
    May 29, 2026 | 3:14 pm
    Leo Woodall in Tuner
    Photo courtesy of Black Bear
    Leo Woodall in Tuner.

    Of all the ways that movies depict people trying to steal money and other valuables, safe cracking is among the least exciting. By design, it’s a laborious process that only those with a very certain set of skills can do. While clever editing and the right music can enhance scenes of safes being cracked, there’s a reason that the method is among the least used in heist films.

    In the new film Tuner, Niki (Leo Woodall) has a job and a condition that just happens to lend itself well to committing that specific crime. He works as an apprentice piano tuner for Harry (Dustin Hoffman), usually doing the hard work while Harry schmoozes the client. Niki is well-suited for the job because he has a rare condition called hyperacusis, which makes him both sensitive to loud noises and able to hear subtle things that others cannot.

    When he runs across a trio of criminals trying to break open a safe at a house where he’s tuning a piano, he helps them more out of frustration than avarice. But when Harry goes into the hospital and racks up huge bills, Niki decides to join the group to make some quick money. They soon want more than he’s willing to give, and he must find a way to extricate himself from them without losing himself completely.

    Written and directed by documentary filmmaker Daniel Roher (making his narrative feature debut) and co-written by Robert Ramsey, the film has a nice pace to it despite there being relatively little action. Roher and Ramsey spend the first third or so establishing Niki, Harry, and Harry’s wife Marla (Tovah Feldshuh) as characters, letting the audience understand their relationships and how they interact with each other.

    The time they devote to the personal storytelling pays dividends when Niki starts to descend into crime, as his divided loyalties — not to mention the danger of the thefts — insert tension into the plot. That stress is heightened even more when Niki starts a relationship with piano student Ruthie (Havana Rose Liu), as getting closer to her necessitates a series of lies.

    There comes a point, though, where the plot stagnates to a degree. Niki’s end goal, if he has one, is never clear, and it’s obvious that it’s only a matter of time before things start to fall apart. After starting strong in their character development, Roher and Ramsey take shortcuts as the film rushes toward its conclusion. This is most notable in a weird argument scene between Niki and Ruthie that comes out of nowhere and seems to serve no purpose in the story.

    Woodall, who had a memorable turn in season 2 of The White Lotus, is on the cusp of breaking out, and this understated-but-compelling lead role should help him become an even bigger name in Hollywood. Hoffman has a small role, but he remains as interesting as ever despite the lack of screentime. Liu (Bottoms) is also an up-and-coming actor who should become a star with more roles like this one.

    Tuner is a low-key thriller that succeeds because of the way the filmmakers approach the under-used method of robbery. Even if it doesn’t quite reach its potential, the film maintains a high quality throughout thanks to its storytelling and acting.

    ---

    Tuner is now playing in theaters.

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