Zac Brown Band review

Zac Brown Band jam on hits and covers during polished RodeoHouston set

Spring break was in full effect this week on the NRG campus as amiable chamber of commerce weather blew through Houston. The grounds are experiencing a bit of an adrenaline hangover after this week’s run of Los Tigres Del Norte, Whiskey Myers, Bun B’s All-American Takeover, and Nickelback pulling in nearly 286,000 into NRG Stadium alone. Which makes the 70,095 people who showed up for tonight’s performance by Zac Brown Band seem relatively paltry.

We’ve talked a lot about attendance records lately in the modern rodeo era this week and the RodeoHouston website’s attendance logs are endlessly fascinating. Like, what happened in 2001 with only 1,382,183 people? Y’all had Destiny's Child, Diana Ross, Brooks & Dunn, and Duran Duran. According to a report at the time, low attendance was blamed on construction and traffic, presumably the construction of Reliant Stadium off Kirby and the METRORail taking shape off Fannin caused mild havoc.

It sounds awfully precious to say that the Zac Brown Band is the most jam band adjacent act that RodeoHouston will see, barring an appearance by the Dave Matthews Band which wouldn’t be too far-fetched if they stuck to compact versions of the hits. Full-scale Zac Brown Band shows are a much different beast, full of extended instrumental jams and even more adventurous covers in the mix. That’s not to say that ZBB shows at RodeoHouston are lacking, but the band on the open road with two and half hours or a venue curfew ahead of them as opposed to 45 minutes on the dirt are so very different.

Thursday night’s ZBB set started with a jaunty bluegrass-injected “Knee Deep” after the briefest of delays. Hey, there’s nine people in the band these days, including the recent induction of multi-instrumentalist Caroline Jones. She’s added another dimension to ZBB’s burlier output. “As She’s Walking Away” and its interlocking harmonies benefited the most from Jones’ touch.

The first cover of the night was the Rolling Stones’ “Paint It Black” in southern-rock goth drag. The ZBB’s island-hopping “Toes” at one time had the band nearly-anointed as the next coming of Jimmy Buffett and the Coral Reefer Band, that is until Kenny Chesney made a sandy heel turn and hit the beach.

“We wanna do one for the cowboys,” said Brown, clad in his best honky tonk bouncer garb, plucking his way into Garth Brooks’ “Much Too Young (To Feel This Damn Old)”. The ZBB has always excelled at being the affable jukebox band at RodeoHouston. It wasn’t too long ago that they covered Metallica’s “Enter Sandman”, Allman Brothers’ “Whipping Post”, and Van Halen’s “Panama” in this same spot.

Brown welcomed country-blues guitar slinger Marcus King onstage to slather some stadium-sized slide guitar on top of “Colder Weather” which — naturally — transitioned into the Eagles’ “Take it The Limit”.

King himself has an highly-anticipated Rick Rubin-produced album dropping on April 5. The first singles show King leaning into Americana and lush R&B with a specific fervor. He would be a welcome addition to my dream RodeoHouston 2025 bill, which already features a three-hour Billy Strings Saturday afternoon matinee.

We’re heading into the RodeoHouston homestretch with the Jonas Brothers on Friday night, Brad Paisley on Saturday afternoon, and Eric Church sending us home on Sunday after brunch.

Setlist

Knee Deep
Keep Me in Mind
As She’s Walking Away
No Hurry
Paint It Black
Toes
Much Too Young To Feel This Damn Old
Free / Into The Mystic
Lovin You Is Easy
Homegrown
Same Boat
Colder Weather >> Take it To The Limit (with Marcus King)
America, The Beautiful >> Chicken Fried

Courtesy of the Houston Livestock Show & Rodeo

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Movie Review

Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

Photo courtesy of Amazon MGM Studios

Michelle Pfeiffer in Oh. What. Fun.

Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

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Oh. What. Fun. is now streaming on Prime Video.

movies film

Zac Brown Band review

Zac Brown Band jam on hits and covers during polished RodeoHouston set

Movie Review

Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

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