Metallica concert review

Heavy metal legends Metallica roll into Houston with thunderous riffs

Heavy metal is a baton that has been passed on for generations now. Now, more than ever, metal has turned into family entertainment. On Saturday night at NRG Stadium, the Metallica family reunion left ears ringing and hearts full, with a few scorch marks from hellacious pyro.

Metallica — 44 years into this — is a frenetic, multigenerational machine. Four gray hairs from San Francisco that can still pack out a football stadium. The current lineup of James Hetfield, Lars Ulrich, Kirk Hammett, and Robert Trujillo is the longest-running one in the band’s history.

Hetfield’s frenzied screech from 1981 is now a smoky, barrel-chested growl. Hammett’s metallic, exploratory guitar lines are a part of the metal vocabulary, and Trujillo — still the new guy — has been the sturdy thunder below it all. Urlich’s reliable drumming is its stadium-honed heart.

Openers Suicidal Tendencies and Pantera provided direct support, with ST serving as a bracing thrash appetizer. Keeping it all in the family, Trujillo’s 21-year-old son Tye is now playing bass for ST, just as Robert did in the ‘90s. The band’s set whizzed by before most fans were able to enter the building, but those who arrived early witnessed a masterclass in ‘80s hardcore thrash.

Texas sludge legends Pantera have been celebrating the lives of departed brothers Dimebag Darrell and Vinnie Paul since the group reformed in 2022. Collapsing in acrimony in 2001, the band and its fans never got a proper sendoff, and, with the violent shooting death of Dimebag and Paul’s death due to heart disease, the current lineup only features two original members in lead singer Phil Anselmo and bassist Rex Brown. Guitar hero Zakk Wyle, stepping into Dimebag’s shoes, is a Hall Of Fame avatar for Dimebag, perhaps the only living human that could have delivered the appropriate riffs. Anthrax’s Charlie Benante now handles drumming duties.

It’s 2025, and I’m watching a Pantera pit on the floor of NRG Stadium from a comfortable seat in the end zone. Anselmo, seemingly ageless, stalked Metallica’s sprawling, jaggedly circular stage barefoot and howling, splitting the difference between Henry Rollins and Rob Halford. Heathen anthems “Walk” and “Cowboys from Hell” still slice with precision, just as they sounded in the adjacent Astroarena in 1995.

Before Metallica hit the stage around 9 pm, bored fans passed the time by doing the wave in NRG Stadium, but it only made a few laps before fizzling out.

Kicking off with “Creeping Death” from 1984’s Ride The Lightning, Metallica reveled in rumbling NRG Stadium’s foundations.

“For Whom The Bell Tolls” sounds as apocalyptic as ever, one of the early highlights of the night. The band has embraced it’s Load and Reload era recently, with the latter’s “The Memory Remains” and “Fuel” making setlist appearances. The crowd deftly filled in for the late Marianne Faithfull during the former. There’s still a lot of love for ‘90s eyeliner Metallica.

Metallica’s 2023 album 72 Seasons saw the quartet reconvening for a loose and unrelenting collection of songs. “Lux Æterna” and “If Darkness Had a Son” have a slithery swing to them, borne from those famous Metallica jam sessions that sometimes appear on YouTube.

1991’s “Nothing Else Matters” is still a romantic ballad for metalheads, a Gen X wedding staple.

Few hard rock bands can still pack a football stadium in 2025, which makes Metallica among the last of a dying breed. All in their early ‘60s, they’re not unlike a performance hot rod team with 30 or so souped-up machines in the garage that only they know how to drive. They just have to take a few more breaks than they used to in between laps. Those four guys together still make magic via extremely loud noises.

Closing out with “Master of Puppets and “Enter Sandman,” Metallica pushed Houstonians out into a humid Saturday night, covered in each other’s sweat, looking forward to the next Metallica family reunion.

Setlist

Creeping Death
For Whom the Bell Tolls
Ride the Lightning
The Memory Remains
Lux Æterna
If Darkness Had a Son
Kirk and Rob Doodle ("Hit the Lights" and ZZ Top's "La Grange")
The Day That Never Comes
Fuel
Orion
Nothing Else Matters
Sad but True
One
Seek & Destroy
Master of Puppets
Enter Sandman

Metallica concert Houston NRG Stadium 2025

Photo by Brittaney Penney

Metallica played a career-spanning set on June 14, 2025.

Movie Review

George Clooney shines in Jay Kelly, a sharp and heartfelt look at fame

Photo by Peter Mountain/Netflix

George Clooney in Jay Kelly.

The life of a celebrity is paradoxical in that your life is lived in the public eye, yet who you really are is almost unknowable. Movie history is littered with films that try to dig into the private lives of real and fictional actors, with varying results. The latest film to try to unearth what it means to be famous is Jay Kelly.

In a perfect bit of casting, George Clooney stars in the title role as an actor who’s still world famous even if he’s edging toward the downside of his career. His coterie of helpers, including manager Ron (Adam Sandler) and publicist Liz (Laura Dern), make sure he is taken care of at every turn, often anticipating his needs before he realizes it.

A run-in with an old friend, Timothy (Billy Crudup), sends Jay spiraling, questioning not just the meaning of his 35-plus year career, but also his relationships with his two daughters, Jessica (Riley Keough) and Daisy (Grace Edwards). Jay’s attempt to manage the crisis pits his identity as a celebrity and as a father and friend against each other.

Written and directed by Noah Baumbach, and co-written by Emily Mortimer (who has a small role), the film has to walk the tightrope of making the audience like Jay even as he does and says things that might make him unlikable. There’s a very thin line between the character of Jay Kelly and the real life George Clooney; each is seemingly infinitely charming when dealing with the public, but they lead very different private lives.

Baumbach takes a light approach to the story, occasionally dipping into more serious territory but never going too deep. For some, this may seem like a copout, as if he’s merely pretending to want to explore what celebrity truly is. But as you see Jay navigate his way between his work, his family, and being out among the public, little details emerge that make him increasingly complex.

A lot of the film’s pleasure comes from the strong actors cast in relatively minor roles. There are not enough words to express what it means to have actors like Jim Broadbent as Jay’s mentor, or Greta Gerwig as Ron’s wife, or Stacy Keach as Jay’s father, or Patrick Wilson as a fellow longtime actor. Each of them and more lend an instant air of excellence to the film that elevates the story beyond its simple premise.

Clooney may be playing a version of himself, but as the film notes on multiple occasions, playing yourself is more difficult than it seems. He is deserving of an Oscar nomination, as is Sandler, who doesn’t give off even a whiff of insincerity as a man who has given perhaps a bit too much of himself in aid of another man’s career.

Jay Kelly is not a world-changing film, and some may accuse it of being another navel-gazing Hollywood story. But the forcefulness of Clooney’s performance, the long line of strong supporting actors, and the subtly effective storytelling by Baumbach and Mortimer (making her feature screenwriting debut) help it become much more than might be expected.

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Jay Kelly is now playing in select theaters. It debuts on Netflix on December 5.

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