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Tag: 713 Music Hall

  • Halloween At The Swamp – Houston Press

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    Smoke rolled across the stage and spilled into the crowd, where fans arrived dressed as video game characters, movie icons, and other familiar pop culture figures. Standing above the audience on a giant speaker stood Doechii, dancing through the wafting smoke to Stressed. As the music rose, the singer let out a loud scream and the audience screamed back. When the roar finally began to settle, the rapper stopped at center stage and looked out over the crowd.

    “You all sold this B&$%* out” she shouted. “Happy Halloween Swamp!”

    Her greeting was more than a holiday nod. Swamp is the name she uses for her fanbase, a reference rooted in the humid environment of her hometown of Tampa, Florida. It is also the title of her current tour, a 14 city run moving through North America during October and November called Live From The Swamp.

    Born Jaylah Hickmon in Tampa, Florida, Doechii began releasing music online as a teenager, building a following through early YouTube uploads and self released projects that showcased both her writing ability and her interest in blending rap with theatrical performance. Her breakout moment came with “Yucky Blucky Fruitcake,” a cleverly written introduction to her life that caught fire on social media and brought widespread attention to her talent. The success led to a growing buzz that eventually reached Top Dawg Entertainment, where she made history as the first woman to join the label.

    The Anxiety singer performed for the sold-out crowd on Halloween night. Credit: Darrin Clifton

    Live From The Swamp is a showcase of Doechii’s evolution as an artist. The show pulls from her 2024 critically acclaimed mixtape Alligator Bites Never Heal as well as the singles that have highlighted her versatility. Doechii is a relatively new artist, so her catalog is not deep, but the swamp is deeper than it appears. She moves between songs with ease, shifting from lyrically dense rap to light, melodic pop without losing momentum.

    While she may be a new name to many, her growing catalog reveals an artist with more skill and confidence than her years in the industry might suggest, and her stage show proves it. From start to finish, Doechii bounced across the stage without a hint of fatigue. She spent the evening racing across the platform, climbing the tall speakers that framed the stage, and sliding down the connected ramps in full command of the room. The show offered far more than a simple one to one performance of her catalog. Many of the songs were reworked with samples and references to artists like Mary J Blige, Outkast, Nas, Jay Z, Crystal Waters, Missy, and others. And with the Houston stop falling on Halloween, the added layer of costume pageantry gave the night an extra spark.

    “I be so mad because ever since I dropped, I been on tour every Halloween” laughed Doechii as she directed the cameras toward the audience. “I never get a chance to dress up but I see you all out there. Quick, someone get the camera on MF Doom over there.”

    The Anxiety singer then spent the next few moments pointing out costumes in the crowd, including Frozone and an audience member dressed as her single Spookie Coochie.

    Just as her music suggests an artist beyond the age of her catalog, Doechii’s live show is polished and thoughtfully crafted. Whether performing through clouds of smoke, trading back and forth with her DJ, or singing alongside the music videos projected on the screens behind her, she keeps the audience in the palm of her hand throughout the evening. Houston’s own Monaleo was even part of the show, seated at a long table on stage with other fans as Doechii performed while displaying a POV camera feed to the audience.

    The rapper kept the audience captivated as she moved through her growing catalog. Credit: Darrin Clifton

    Live From The Swamp unfolds like a world pulled from Doechii’s imagination, rich with character, energy, and a spirit that feels both rebellious and joyful. The show is layered with detail, color, and personality, never losing sight of the connection between artist and audience. It leaves a mark not through grand finales, but through the lasting feeling that something original took place. There is a bright future for the swamp princess.

    Setlist

    STANKA POOH
    BULLFROG
    BOILED PEANUTS
    NISSAN ALTIMA
    AMERICA HAS A PROBLEM (Beyoncé cover)
    ExtraL (JENNIE cover)
    Booty Drop
    Alter Ego (Doechii and JT song)
    Persuasive
    SLIDE
    Spookie Coochie
    Nosebleeds
    Crazy
    Anxiety (Rock Version)
    Stressed
    DEATH ROLL
    BOOM BAP
    GTFO
    CATFISH
    Swamp Bitches
    DENIAL IS A RIVER
    Balloon (Tyler, The Creator cover)
    WAIT

    Encore:
    Pacer (Snippet)
    Wat U Sed (Kal Banx and Doechii cover)

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    DeVaughn Douglas

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  • Cage the Elephant Brings Frenetic Energy to 713 Music Hall – Houston Press

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    Cage the Elephant

    Cage the Elephant treated fans at 713 Music Hall to one of the most energetic shows in music today.

    Cage the Elephant frontman Matt Shultz might be the most energetic guy in rock today. Imagine a Labrador Retriever puppy with a Red Bull IV drip, and that’s about what you get when Shultz and crew take the stage.

    This is a compliment; the dude is awesome, as was Cage the Elephant on Monday night before a sold-out crowd at 713 Music Hall. Decked out in sunglasses and with the cool to match, Shultz and crew emerged at 9 p.m. to fire and a roar from the crowd.

    The next 90 minutes? Well, they never let up.

    Shultz and his bandmates whipped through a tighter-than-hell 21-song set that ably mixed tracks from their newest release – last year’s Neon Pill – with a number of fan favorites from a catalog that’s far more extensive than some might recall.

    Whether it was “Mess Around,” “Trouble” and “Cold Cold Cold” – from 2015’s stellar Tell Me I’m Pretty, to “Come a Little Closer” and “Cigarette Daydreams” from its predecessor (Melophobia), Cage matched the crowd’s frenetic energy throughout the duration of its set.

    Fire shot from the stage, Shultz bopped around the most cocksure of confidence and fans in attendance were treated to one of the great – and, quite frankly, underrated – bands of its era. By the time the band wrapped up with “Come a Little Closer,” it had left no doubt.

    A Cage the Elephant show is more than just a show; it’s an experience. 

    So, How Was the Crowd?: Far more diverse, in terms of age, than one might expect. Quite a few folks well into their 60s, a number of young folks in their early 20s. And a number of parents with their kids. Oh, and it was packed.

    Random Notebook Dump:713 is a phenomenal live music venue, both in terms of acoustics and aesthetic … Props to the bands for wrapping things up by 10:30 p.m.; it was a school night!

    Setlist:
    Broken Boy
    Cry Baby
    Spiderhead
    Too Late to Say Goodbye
    Good Time
    Cold Cold Cold
    Ready to Let Go
    Neon Pill
    Social Cues
    Halo
    Mess Around
    Trouble
    Ain’t No Rest (for the Wicked)
    Skin & Bones
    Telescope
    House of Glass
    Sabertooth Tiger
    Back Against the Wall
    Shake Me Down
    Cigarette Daydreams
    Come a Little Closer

    This article appears in Jan 1 – Dec 31, 2025.

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    Clint Hale

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  • Shaboozey Brings the Great American Roadshow to 713 Music Hall – Houston Press

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    “I don’t know if this is too much,” exclaimed Shaboozey as he pointed at the chain hugging his neck. The country singer was dressed plainly in blue jeans and a T-shirt emblazoned with the logo for Gilley’s Club, the famous nightclub in Pasadena, Texas that ran for nearly two decades. What was not plain was the diamond chain with the initials “AD,” representing his American Dogwood record label. The piece caught the light throughout the night and glimmered even in darkness.

    “I was debating on whether to put all these pieces on,” he continued, reaching into the crowd to sign hats, posters, shirts, and records for fans. “I didn’t want to seem like I was stunting or nothing. But we got a Houston legend in the building, and his name is Maxo Kream. I asked him backstage if it was too much. And he told me I was in Houston, so shine on ‘em!”

    A minute later, the Woodbridge, Virginia native was leading the packed house at 713 Music Hall through the chorus of “Amen.” The 2025 Great American Roadshow was in full swing in Houston, Texas.

    The Great American Roadshow Tour is Shaboozey’s first national headlining run. Announced in early 2025, it began in April and includes more than thirty shows across the United States, with stops in Nashville, Atlanta, Chicago, Denver, Los Angeles, and New York. Several festival appearances were added during the summer. The tour supports his 2024 album Where I’ve Been, Isn’t Where I’m Going, released through his American Dogwood imprint in partnership with Empire.

    Shaboozey looks over the crowd at 713 Music Hall. Credit: Cody Barclay

    For fans who discovered Shaboozey through his chart-topping hit “A Bar Song (Tipsy),” the tour offers both the pop-driven sound that brought him mainstream attention and deeper cuts from his catalog, including “Fire and Gasoline,” “Drink Don’t Need No Mix,” and “Good News.” Flanked by his band, he moves easily between upbeat anthems and more reflective material that shows his range as a songwriter.

    “I grew up in Virginia,” he said, reaching for a guitar at center stage. “Let me play a little of the music I love.”

    Shaboozey performs with a full band that features pedal steel, acoustic guitar, bass, and live drums. The stage setup is straightforward, keeping the focus on the musicianship and the interaction between the band and the audience. His team includes several longtime collaborators from Virginia who helped shape the album’s sound and visuals.

    The tour follows a breakout year that saw Shaboozey reach No. 1 on both the Billboard Hot 100 and Country charts with A Bar Song (Tipsy). His features on Beyoncé’s Cowboy Carter expanded his reach and underscored his growing influence across genres. Before that success, he spent nearly a decade releasing independent projects that mixed country, hip hop, and rock influences. Albums like Lady Wrangler (2018) and Cowboys Live Forever, Outlaws Never Die (2022) built the foundation for his current momentum. Now, with the Great American Roadshow, Shaboozey stands at the center of a sound that bridges his past work with a larger vision for what American music can be.

    The Tipsy Singer leads his first headlining tour. Credit: Cody Barclay

    “This is my first headlining tour, and when I first came in this room, I thought it was kind of big. We’ve been selling out shows in a bunch of cities, but this is a big room when no one is in here. But y’all don’t understand what it means to me to see people in here from wall to wall and have every seat filled. It just means I’m on the right track.”

    The Houston performance underscored why this tour matters. Shaboozey is not just moving through venues; he is building a career that pushes country music into spaces it has rarely occupied. The Great American Roadshow proves that his blend of Virginia storytelling, Nigerian heritage, and American grit can fill halls across the country. Houston’s response, with a sold-out crowd and voices carrying every chorus, was another marker of an artist whose influence is expanding quickly and whose vision continues to grow louder with each stop.

    Set List

    Last of My Kind
    Anabelle
    Blink Twice
    Tall Boy
    Drink Don’t Need No Mix
    Vegas
    Highway
    Move On (with Kevin Powers)
    Family Tradition (Hank Williams, Jr. cover)
    Amen
    Finally Over
    Fire and Gasoline
    Horses & Hellcats
    Good News
    Let It Burn
    A Bar Song (Tipsy)

    This article appears in Jan 1 – Dec 31, 2025.

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    DeVaughn Douglas

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  • Addison Rae Turns 713 Music Hall Into a Pop Playground

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    The lights at 713 Music Hall dimmed to near silence, and the room that had been buzzing with pre-show energy froze. Out of the shadows a figure drifted toward the center of the stage, her outline just visible against the soft glow of backlighting. Then the music pulsed, red lights strobed, and Addison Rae appeared, flanked by dancers whose movements snapped in perfect time with hers.

    Just as quickly, the beat dropped away, leaving the sold-out hall in stunned quiet. In the pause, anticipation swelled until the sound and lights returned with a jolt, unleashing a wave of confetti shaped like dollar bills that cascaded over the crowd. Standing in the mist of it all was Rae, the influencer turned pop star, commanding the stage.

    Her debut headlining run, The Addison Tour, launched in August 2025 to support her first album Addison. Spanning more than 30 dates across North America, Europe, and Australia, the tour grew quickly after its June announcement, with extra shows added and venues upgraded to meet fan demand. The setlist mixes fresh material like “Fame Is a Gun,” “Aquamarine” and “Diet Pepsi” with alternate versions and remixes, including a reimagined take on her breakout single “Obsessed” and a hyperpop-leaning cover of Charli XCX’s “Von Dutch.” Critics have pointed to the balance of theatrical staging, choreography, and costume changes as evidence of Rae’s growing confidence as a performer.

    “Thank you so very much for being here tonight,” the singer gushed as she looked out into the cheering crowd. “I actually went to middle school a little north of here and I have family here tonight so I just want to thank everyone who made the trip out here. I feel like the luckiest girl in the world.”

    Houston’s stop on the tour more than satisfied her ever growing fanbase. Songs like “Summer Forever” and “Aquamarine” unfolded with big visuals and polished choreography, while reworked versions of “I Got It Bad” and “Obsessed” gave familiar hits a new edge, one through a Britney Spears interpolation, the other through a darker remix twist. The crowd answered every shift by singing along.

    Rae’s dancers and visuals carried the show’s momentum, moving the stage from surreal underwater dreamscapes during “In the Rain” to neon skylines for “New York.” Her rendition of “Von Dutch” stood out as a highlight, leaning into chaotic production as flashing lights drenched the hall in energy.

    What might have been just another glossy pop production instead unfolded with moments of theater. Early confetti showers were matched later by a storm of blue light and mist that turned the room into an ocean for “Life’s No Fun Through Clear Waters.” By contrast, “Times Like These” stripped things back, Rae sitting at the stage’s edge with only minimal accompaniment, her voice carrying clearly over the hushed crowd.

    Houston’s reception showed why The Addison Tour has quickly become one of the most talked about debuts of the year. Rae’s mix of spectacle and sincerity proved she can hold her own on a major stage, balancing choreography heavy productions with moments of intimacy that kept the crowd invested. What once seemed like a risky leap from influencer fame to pop stardom now reads as a natural progression, with Rae using every city, every remix, and every confetti blast to underline that she wants to rise in the ranks of contemporary pop.

    Setlist
    • Fame Is a Gun
    • I Got It Bad
    • New York
    • Summer Forever
    • 2 Die 4
    • Von Dutch (Charli XCX cover)
    • In the Rain
    • High Fashion
    • Aquamarine
    • Life’s No Fun Through Clear Waters
    • Headphones On
    • Money Is Everything
    • Obsessed
    • Times Like These
    • Diet Pepsi

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    DeVaughn Douglas

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  • Get Up, Stand Up! Find the Right Spot for Your Best Concert Experience

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    Going to shows can be a transformative experience filled with wonder and energy and great music. It can also be a sweaty hellscape that leaves you with ringing ears, smelling of spilt beer.

    Every concertgoer has their preferred experience for seeing artists live. Some want a picture of the whole thing while certain audiophiles crave perfect sound. Others want to get in the pit and dance. Whatever your idea of a great concert experience, where you sit (or stand as the case may be) makes all the difference.

    Casual Observers

    If you are going to see a band you don’t know that well and your primary interest is that of a curious bystander, consider the middle back of a general admission show or side of the stage in a larger arena. If you are standing up, being able to take in the overall is critical without the crush of the crowd. If you have the option of seats, the side of the stage is a great way to see not just the performance, but things going on behind the scenes. This is a great option for musicians as well, just make sure you are on the side of the person you actually want to watch.

    Visual Learners

    Love the spectacle of it all? Want to see every backup dancer and every bright flashing light? Get to the back of the crowd in an elevated position. You might not be the closest to the artist, but you’ll be able to see everything. In a venue like Toyota Center, that means the back lower section 10-20 rows up to make sure you aren’t blocked by anything below. In a more general admission setting, the key is to get up higher than the people in front of you like a balcony at 713 Music Hall or House of Blues.

    The Audiophile

    If you love the auditory experience of a great show, look for the mixing board and get as close to it as possible. Audio engineers position themselves at a venue for a reason. The center of the room gives them stereo separation of the sound system and helps them to get the best picture of how everything is actually sounding. In big arenas, that often means being on the floor or in the first couple rows in the lower bowl. In smaller venues, you will probably have to cram yourself in front of the sound guy. But, leave them alone because that job is difficult enough without people asking for more delay on the lead vocal.

    Active Participants

    Dancers, mosh pitters, this is for you. Keep in mind that this is much more attainable at general admission shows where you can force yourself to the front and party like a rock star. Obviously, proceed with caution. The larger the crowd and the hotter the weather if you are outside, the more dangerous it can be. For big arenas, it means ponying up big bucks to get a seat down front. It’s the only way to be close to the action and might even allow you to interact with the artist. Of course, if you just want to dance, you can to that any damn where you please, so have fun!

    For the Claustrophobic

    Yes, there are music lovers who also happen to struggle in crowded environments. It can be panic inducing and downright terrifying. For you folks, the choices are somewhat more limited, but not unattainable. Consider more outdoor shows like the ones at the Cynthia Woods Mitchell Pavilion where you can bring a lawn chair and sit in the expanse of grass. If you must go to a show in more cramped corners, get there early and scope out a spot in the back near an exit. It will help ease some of the discomfort that comes with dealing with so many people.

    The Option to Sit Down

    If you are someone that doesn’t want to stand for long periods of time or has a physical disability, make sure the show you go to is not entirely general admission. You MIGHT be able to find a seat like a barstool or similar (House of Blues has some) if you get there early enough, but if not, you could be in trouble. For seated shows, ideally pick somewhere that is easy to access – the end of a row or a seat towards the back. It will make it much easier to enter and exit and keep the show enjoyable for both you and your seat mates.

    Just Happy to Be Here

    If you just want a good time, don’t even bother worrying about it. Show up, hang out and dance like everyone is watching you because, nowadays, they might be!

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    Jeff Balke

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  • Kehlani Lives Out Their Rock Star Dreams at 713 Music Hall

    Kehlani Lives Out Their Rock Star Dreams at 713 Music Hall

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    Kehlani with FLO and Anycia

    Crash World Tour
    713 Music Hall
    October 8, 2024

    “The gays love Kehlani…the colored ones,” explained one fan as he anxiously waited to get into 713 Music Hall to see the singer-songwriter, whose Crash World Tour brought them and their R&B-infused pop to the Bayou City last night in support of their fourth studio album titled, well, Crash.

    Kehlani’s journey took them from a pop cover group to America’s Got Talent and then a solo career that got them onto the Billboard charts and earned them multiple Grammy nominations – the first for their 2015 mixtape You Should Be Here. Since then, Kehlani has cultivated a devoted fanbase, evidenced by the almost fully packed house that awaited them at the music hall.

    But first, the openers: Atlanta rapper Anycia kicked off the evening by bringing the raunch (see: “GIRLS GONE WILD”) along with an easy charm and clear skill – whatever that unreleased song was, I’m interested. After a short break, British girl group FLO took that stage, and they definitely give major The Writing’s on the Wall-era Destiny’s Child vibes (not to mention the more overt echoes of Missy Elliot and Timbaland). That’s certainly not a complaint either; that era was God tier.

    The lights finally dropped right around 9:30 p.m. for the main event, and with its bombastic opening, the start of Kehlani’s set certainly mimicked a crash landing. Their arrival announced, Kehlani appeared on an elevated platform, backed by a three-piece band, and launched into “Next 2 U,” kicking off a run of three songs off Crash. The other two were the aptly named “GrooveTheory” – the mellow melody of its intro giving way to a contagiously thumping beat and bassline that led us right into the meat of the song, where Kehlani soulfully crooned “I wanna groove, baby” – and “What I Want,” a track unexpectedly built around a sample from a late ‘90s Christina Aguilera song.

    “I only got one requirement for tonight,” Kehlani said soon after. “That y’all have a good fuckin’ time.”

    click to enlarge

    Kehlani brings their Crash World Tour to 713 Music Hall.

    Photo by Darrin Clifton

    Kehlani went on to say that they would play “old shit” and “new shit,” with a quick turn to the old-ish following – a little bit of “Nunya” from their 2019 mixtape While We Wait, followed by “The Way” and “You Should Be Here” from their 2015 mixtape You Should Be Here. For “The Way,” the crowd took over the bridge and chorus and also managed to rap almost two-thirds of Chance the Rapper’s verse before descending into an unintelligible mumble. Still, it was enough for Kehlani to declare, “Something feels really fucking good tonight.”

    “Toxic,” the first song from 2020’s It Was Good Until It Wasn’t – the album people went crazy over during lockdown – was next, before a pair of songs from Crash, “Sucia” and “8,” took us into a more sexual part of the evening. Jill Scott’s spoken word intro that leads off “Sucia” played over the stage, red-lit and populated with backup dancers seductively moving about. Kehlani’s sultry vocals matched the atmosphere as they implored an imaginary someone to “come with me, come with me.” The thematically similar “8,” “Can I,” and “Water” rounded out this portion of the set.

    Following a command to download their latest mixtape, While We Wait 2 (if you haven’t already, that is), Kehlani performed two songs from it: “When He’s Not There,” which inspired a bit of a singalong, as well as a verse from “Clothes Off,” a song they did with kwn.

    Next, Kehlani took a moment to tell the crowd, “Oh, y’all all nasty,” after hearing their crowd mic pick up someone in the audience saying so. They added that they believed it, too, “because every bad rapper bitch I know from here is disgusting – in the best fucking way.” With that settled, Kehlani introduced “Hate the Club” by doing their best to put an end to their fandom’s “do we still hate the club” discourse, saying it’s been four years – “Can we all commit to letting it go?”

    A song from Kehlani’s 2017 debut album, SweetSexySavage, finally appeared in “Distraction,” which slid right into a verse from “Gangsta,” which you may remember as Suicide Squad’s unofficial Joker-Harley Quinn song. The run-heavy section allowed Kehlani to show off their vocals before going into another set of songs from Crash, “Tears” and “Vegas.”

    click to enlarge

    Kehlani supports their latest album, Crash, at 713 Music Hall.

    Photo by Darrin Clifton

    A sweet piano melody then led into “everything,” a love that gave way to Kehlani calling out to all “the pretty girls in the room” – adding that the call meant “every single one of you.” It was time for “Honey,” and the fans were thrilled to sing lines like “I like my girls just like I like my honey / sweet / a little selfish” and “I like my women like I like my money / Green / A little jealous.”

    Kehlani introduced the next song, “Border,” by speaking about the stigma associated with mental illness, telling the audience that “real actual psychiatric care saved my life on numerous occasions, and I want that for you if you feel like you need it.” The message was met with approval, as was “Border,” followed by “Open (Passionate)” and two more songs from Crash – the titular track and “Chapel,” which was cutely coupled with a cover of the Bruno Mars song “Marry You.”

    Then a thing happened.

    While it was a great night for Kehlani and their fans overall, it wasn’t a great night for physical health and consciousness. Right before launching into “Lose My Wife,” Kehlani halted the show to point out someone was on the ground. And earlier, during FLO’s set, they abruptly cut a song short after seeing a fan in distress in the crowd. Though I couldn’t tell if/how that was resolved, about 15 minutes after their set (and about five minutes before Kehlani’s), I watched an unconscious fan get carried off the floor by two staff members. I don’t know what the heck was going on in GA tonight.

    But back to the show on stage.

    “Deep,” another song from Crash with an attention-grabbing, “Hard Knock Life”-type bridge, came after “Lose My Wife.” Kehlani then took a moment to note that the set had “a little bit of everything,” going on to exclaim, “These are my rock star dreams!” After correcting the pronunciation of their name (it’s kay-lani, not kuh-lani), the singer cleverly and briefly forayed into Jordan Adetunji’s “KEHLANI REMIX.”

    One more bit of patter, this time with Kehlani saying that their favorite part of the tour has been connecting with local artists and surprising the crowd by bringing Houston’s own KenTheMan on stage to perform “Not My N*gga.” Again, Kehlani stressed that it was our responsibility to support our own, before “Ring” began to play. The Cardi B song, which Kehlani featured on, easily got the biggest pop of the night, with dancehall-ready closer “After Hours,” particularly the “Cater 2 U” remix part, coming in second.

    Note #1: When exactly did the Arsenio Hall “woof, woof, woof” thing come back into fashion?

    Note #2: Kehlani donned cowboy boots but never dropped a yeehaw that I heard, so A-plus for that.

    Setlist

    Next 2 U
    GrooveTheory
    What I Want
    Nunya
    The Way
    You Should Be Here
    Toxic
    Sucia
    8
    Can I
    Water
    When He’s Not There
    Clothes Off
    Hate the Club
    Distraction
    Gangsta
    Tears
    Vegas
    everything
    Honey
    Border
    Open (Passionate)
    Crash
    Chapel
    Marry You
    Lose My Wife
    Deep
    KEHLANI REMIX
    Not My N*gga (Performed by KenTheMan)
    Ring
    Nights Like This
    After Hours (Cater 2 U Mix) / After Hours

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    Natalie de la Garza

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  • Charley Crockett’s $10 Cowboy Tour Lights Up 713 Music Hall

    Charley Crockett’s $10 Cowboy Tour Lights Up 713 Music Hall

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    Charley Crockett
    $10 Cowboy Tour
    713 Music Hall
    September 3, 2024

    Have you ever met a stranger and been completely amazed by their entire demeanor? The kids these days would call it “swag” or “vibes,” which is something magical and intangible about the person’s attitude. That’s exactly how I feel about Charley Crockett. His chiseled jawline and piercing green eyes attract your attention, and then BOOM!… His voice and southern twang grabs a hold of your soul and doesn’t let go.

    Crockett began his set at 713 Music Hall with $10 Cowboy, where he sings “people always ask me, if I’m a rodeo star / doubt if I got 8 seconds / but I can sing you a song!” He definitely fits the casting call for a vintage cowboy film: leather jacket, Stetson on his crown, wranglers and boots. He carries his guitar around the stage like dancing partner, flashing his pearly-white smile with the precision of a heart surgeon.

    The singer-songwriter is a native of San Benito, Texas – the same hometown as Freddy Fender of Texas Tornados fame. He later moved to Dallas and also spent time with family in New Orleans, no doubt absorbing every character and experience he encountered into his repertoire of inspiration.

    click to enlarge

    Crockett is a native of San Benito, Texas – the same hometown as Freddy Fender of Texas Tornados fame.

    Photo by Violeta Alvarez

    The amber colored accent lights that flanked him and his band on stage added to the warm feel of the show. This wasn’t a modern country set with pyro, lasers, and songs about your dog dying in your truck down by the river. This was more subdued, classic country music with heavy blues influence. “I used to think I was a folk singer” he told the audience. “But then I realized this ain’t nothing but The Blues!”

    Crockett mostly sings in a low baritone voice, almost like Johnny Cash or Kris Kristofferson. But peppered in between verses and jam sessions with his band The Blue Drifters, he sometimes allows a yelp and a yee-haw ring out, shifting from serious to rowdy in a split second. In that regard, he reminds me more of Waylon Jennings and Hank Williams Jr.

    “Some publication once called me a stylistic man” Crockett told the crowd. “The way I see it, I’m always just myself… and I’m the only person that can do that!” A lady named Juliet, who was enjoying the show next to me, said “He definitely looks like a character from the movie Giant (1956) starring Rock Hudson, James Dean, and Elizabeth Taylor. I quickly added the film to my “must watch” list.

    click to enlarge

    Crockett mostly sings in a low baritone voice, like Johnny Cash or Kris Kristofferson, but his stage presence is that of Waylon Jennings or Hank Williams Jr.

    Photo by Violeta Alvarez

    By the time the set list arrived at “The Man From Waco,” Crockett was in total control. There were couples two-stepping around the venue, friend groups drinking beer and singing along to the tracks, and girlfriends holding their boyfriends tight around the waist. I go to a lot of shows, but outside of Rodeo season, this was the most Houston show I’ve seen in a very long time.

    There were 2 large, old school neon letters on the stage behind the band, and they read “CC.” It was so cool to see them glow behind Crockett throughout the performance, and they added to the western theme of the tour. As the evening came to a close, the crowd chanted “Charley! Charley! Charley!”

    click to enlarge

    Outside of Rodeo season, this Charley Crockett concert was the most Houston show I’ve seen in a very long time.

    Photo by Violeta Alvarez

    Of course Charley and his band returned for an encore, offering Jamestown Ferry before bringing out opening act Vincent Neil Emerson for an awesome cover of Good Hearted Woman by Waylon and Willie.

    “But she never complains of the bad times
    Or the bad things he’s done, Lord /
    She just talks about the good times they’ve had
    And all the good times to come    “

    click to enlarge

    “Next time you see me, I’ll play twice as good!” – Charley Crockett

    Photo by Violeta Alvarez

    click to enlarge

    Crocketts encore included a cover of “Good Hearted Woman” by Waylon and Willie.

    Photo by Violeta Alvarez

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    Marco Torres

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  • Tems Brings Her Born In The Wild Tour to 713 Music Hall

    Tems Brings Her Born In The Wild Tour to 713 Music Hall

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    “The energy is crazy right now,” laughed Tems as she stared at the audience in awe. “I just love Houston. My family is from Houston. My family is out there right now.”

    The singer stood basking in the applause took a step back as the spotlights focused on her. The room filled with the reverberation of cheers as the singer tried to hold back her expressions of joy.

    A few days ago Tems revealed a secret to the world about her chart-topping song with Drake and Future.
    “Maybe now it’s time for me to confess that it was always I won’t wait for you,” said the Nigerian singer via X formally known as Twitter. “But it’s want it in a British accent so it came out as wun. It officially I will wait now though. I just thought it was funny.”

    Temilande Openiyl has been burning up the charts under the stage name Tems since the release of her two EPs For Broken Ears and If Orange Was A Place. That first EP contained the song “Higher” which Atlanta rapper Future sampled for his single “Wait For U”. The song debuted on Billboard’s Hot 100 giving Tems songwriting credit on a multiplatinum, Grammy Award winning album.

    That same year she was featured on afrobeat’s superstar Wizkid’s track “Essence” a four times platinum chart-topper which earned a Grammy nomination and multiple awards in its own right. The two songs earned Tems critical acclaim and exposed her to a worldwide audience looking for more of the sultry singer with the powerful voice.

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    The “Higher” singer brought her powerful voice to Houston fans.

    Photo by Darrin Clifton

    Tems answer was Born in the Wild, her 2024 debut album. The tour came to 713 Music Hall Wednesday night. The tour was almost like a homecoming for the singer who, as mentioned earlier, has ties to the city. She went through singles like obvious crowd favorites “Turn Me Up,” “Found,” and “Ice T” showing stage presence in between songs. She not only went through the new album but made sure to give hits to her fans that have been there from the beginning.

    “I’m going to test y’all,” laughed the singer. “I’m going to do something for my day ones. This is my first song, from me to you. Who knows about Mr. Rebel?”

    The singer has a deadpan delivery but even with her straightforward nature she exudes her personality throughout the performance. She would almost break out in laughter during a song as she looked at signs made my fans in the audience. Emphasis on “almost” because Tems sounds unchangingly like her records.

    As she moved across the stage throughout the night her voice never wavered, showing just how gifted and talented she is with her stage performance. At one point she came down into the crowd to speak with excited audience members making sure to pick ones that had been enthusiastic all night. When she handed the mic to a fan named Carl, he immediately screamed how proud he was of her. Tems responded by serenading him incorporating his name into the song. She did that for two more fans, walking amongst the crowd and creating personalized tunes before returning to the stage.

    While “Found” got a huge response the room filled with the voices from the audience as she went through the song that started it all. “Higher” had the audience singing so loudly you could hear the chorus drifting though the lobby of 713 Music Hall and out into the humid Houston night.

    If Wednesday is any indication, fans can expect to see more and more Tems. Her powerful voice and stage presence kept the crowd on their feet and wanting more.

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    Tems looks over the audience at the downtown venue.

    Photo by Darrin Clifton

    Setlist
    Crazy Tings
    Avoid Things
    Free Fall
    Replay
    Damages
    Wickedest
    Turn Me Up
    Burning
    Ice T
    Gangsta
    Mr Rebel
    Unfortunate
    Forever
    Ready
    Found
    Higher
    Not an Angel
    Love Me JeJe
    Essence
    Me & U
    Free Mind

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    DeVaughn Douglas

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  • Jane’s Addiction Welcomes Us To The Family At 713 Music Hall

    Jane’s Addiction Welcomes Us To The Family At 713 Music Hall

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    Jane’s Addiction, Love and Rockets
    713 Music Hall
    August 19, 2024

    In 1990, my roommate Alan and I drove from Austin to Dallas, entering a venue called the Bronco Bowl and joining a host of weirdly dressed young people. Cultural dissonance ensued as we made our way to the concert venue by winding through quote-unquote normal families dining, playing air hockey, and — yes — bowling. The band we were there to see? Jane’s Addiction.

    This was near the height of the band’s popularity. Ritual de lo Habitual, the band’s second studio release, had just dropped. The 3,000-person capacity Bronco Bowl was not equipped to deal with the (i’m guessing) more than that number who showed up, and as “Up The Beach” broke into “Whores,” the crowd surge picked me up, thrashing me around like Chrissie Watkins before I was dumped on the ground, where I barely managed to claw my way back upright despite taking at least a dozen stomps/kicks.

    What a show.

    The Bronco Bowl is long gone, and 713 Music Hall holds a couple thousand more people. So while it would be inaccurate to call it a “low energy” crowd, at least nobody died last night* as Jane’s Addiction played a show with its original lineup for the first time since 2010.

    But first: there was another blast from the past. Love and Rockets opened the show in an order reversal from the last time the two bands toured together (LnR’s Earth Sun Moon tour). They’re also trotting out their original lineup, but then, Daniel Ash, David J, and Kevin Haskins have always been Love and Rockets.

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    Daniel Ash’s hair game remains on point.

    Photo by Violeta Alvarez

    “The Light” was an interesting choice for an opener. And nothing about LnR’s set screamed “audience friendly.” They aren’t the band to cheesily ask, “are you ready to have a good time?” The sound of impending doom, offset by Ash’s sparkly jacket and David J’s dry commentary, works better for them.

    “The Dog-End of a Day Gone By” and “When the Minutes Drag” aren’t exactly crowd pleasers, and accentuated the fact their songs tend to hinge on choruses repeated ad nauseam. Still, “No New Tale to Tell” re-energized most everyone, followed by “American Dream,” which wouldn’t have sounded out of place on The Sky’s Gone Out. “So Alive” remains their most popular (and not coincidentally least complicated) tune, and came along comfortably near the end of their set. And between “Dream,” “Ball of Confusion,” and “Mirror People,” it was as close as the night got to being political.

    Ash said as recently as last year that they were done touring, and who knows? He may say the same thing after these dates with Jane’s. Love and Rockets always had a rough row to hoe: more pop-oriented than Bauhaus, yet never quite mainstream enough to crack the upper ranks. They’re still one of the most aggro 3-pieces around, so hopefully they hold back on any hasty decisions.

    And now, Jane’s Addiction.

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    Dave Navarro’s back, baby.

    Photo by Violeta Alvarez

    It would be a mistake to think of Jane’s as Perry Farrell and company, considering how monstrously effective the rest of the band is. Guitarist Dave Navarro, back onstage while still battling long Covid, demonstrated why he’s just as important to that Jane’s sound as Farrell’s nasal bellowing. The same can be said for Stephen Perkins’ thundering drums (“Ocean Size”) and Eric Avery’s signature bass (“Mountain Song,” “Three Days”).

    That said, Farrell is the showman. The ringleader in a dapper suit that made you wish he’d been cast as the Joker, his engagement with the crowd was effortless. Revealing that he had newly discovered family in Houston, and that made all of us in the audience family too. Farrell’s a weird dude.

    They opened with “Kettle Whistle,” which was never recorded on an official release. It presented an opportunity to get the audience situated before the combo of “Whores” and “Pigs in Zen.” It was a pretty short setlist, all things considered, padded out by extended jams on “Summertime Rolls” and “Then She Did…”

    One also has to account for Perry being, well, Perry. He ran with the “family” theme, referencing it more than a Fast and Furious movie, but making it effective as an intro to “Jane Says” (fun fact: the subject of this song did eventually kick the habit and go to Spain). And then there was his insistence that “cats in Houston party as hard as them in L.A.” Maybe true, maybe just a convenient segue into “Three Days.”

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    We are {Perry Farrell’s] family.

    Photo by Violeta Alvarez

    Yours truly was down for the heavier cuts. “Mountain Song” had everyone going ballistic, and new single “Imminent Redemption” was classic Jane’s, though it seemed like Farrell might have been running out of steam when “Ocean Size” rolled around. “Stop” followed, and was relatively well received. Not as much as “Been Caught Stealing,” which yielded the biggest reaction of the night.

    Considering the band’s early conflicts, struggles with — yes — addiction, and health concerns, it’s nigh miraculous the original lineup is still going strong. Navarro was energized, only taking a seat for a couple of songs, and Perkins and Avery laid the foundation all night. As for Farrell, he seemed happy and genuinely at peace. It all made for a satisfying if unsurprising show.

    Thank you boys.

    * I don’t think.
    Personal Bias: LnR’s version of “Ball of Confusion” was my first exposure to that song. I blame my parents.

    The Crowd: Dudes who finally found an occasion to wear those ‘90 band T-shirts and their drunk-ass significant others.

    Overheard In The Crowd: “This is a whole vibe.”

    Random Notebook Dump: “Being Ocean Size sounds exhausting, honestly.”

    SETLIST
    Love and Rockets
    The Light
    Kundalini Express
    No Big Deal
    The Dog-End of a Day Gone By
    Haunted When the Minutes Drag
    No New Tale to Tell
    An American Dream
    So Alive
    Ball of Confusion (That’s What the World Is Today) (Temptations cover)
    Mirror People
    Yin and Yang (The Flowerpot Man)

    Jane’s Addiction
    Kettle Whistle
    Whores
    Pigs in Zen
    Ain’t No Right
    Ted, Just Admit It…
    Summertime Rolls
    Jane Says
    Mountain Song
    Three Days
    Imminent Redemption
    The She Did…
    Ocean Size
    Stop!
    Been Caught Stealing

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    Pete Vonder Haar

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  • Eden Muñoz Leads a Showcase of Mexican Music at 713 Music Hall

    Eden Muñoz Leads a Showcase of Mexican Music at 713 Music Hall

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    Eden Muñoz
    Como En Los Viejos Tiempos Tour
    713 Music Hall
    August 17, 2024

    I wasn’t expecting to cry at a concert, but last night my emotions got the best of me and the tears rolled down my face. On stage was Eden Muñoz, formally of the Norteño-Banda group Calibre 50, and the song that caused me to shed a tear was “Corrido De Juanito.” It tells a story of a Mexican man who crossed over to work in the United States to obtain a better life, working long, hard hours in constant fear of deportation, all the while longing to revisit his home and family back in Mexico. His mother dies and he isn’t able to pay his last respects, and all he wants to do is hug his father once again.

    And yet, through all of this, he’s still supremely proud to be “Mexicano hasta al tope!” After a quick scan through the crowd, I wasn’t the only one feeling sentimental while listening to this song. It just hits so hard, especially hearing it live in a room full of your fellow Mexican community, knowing that we have all experienced some form of these hardships at least a few times in our life.

    But like true Mexicans, with good music playing we are able to transition from sadness to joy in an instant. And out of all the Regional Mexican concerts I’ve seen this year, Eden Muñoz has probably been my favorite so far. He began the show with “A La Antigüita” which provided a jolt of energy into the crowd, causing yelps of joy and dancing through 713 Music Hall.

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    Eden Muñoz exudes a love for life and country that resounds loudly in his music.

    Photo by Marco Torres

    I remember being introduced to the music of Muñoz’s former band Calibre 50 while I was visiting Monterrey, Nuevo Leon over 10 years ago. There was something magical about his attitude and songwriting, a love for life and country that resounded loudly in his music.

    Muñoz was surrounded on stage by a large banda orchestra, with an entire brass section of trumpets, tuba, and trombones joining in harmony with the saxophones, clarinets, and accordion. He wore an oversized button up shirt, jeans, boots, and a dark black cowboy hat, which he often tilted down and at an angle to cover his gaze, providing a mysterious aura around him.

    Do you ever see somebody and say “that guy really loves his job!” That’s exactly what I felt as I watched Muñoz dance across the stage, playing his accordion and laughing with the crowd. “I get emotional when I drink” he said en Español, holding his glass of tequila (or maybe whiskey) high as he toasted the crowd with a “salud, raza!”

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    Eden Muñoz provided an energetic and lively set during his performace at 713 Music Hall.

    Photo by Marco Torres

    He took a seat and traded his accordion for a guitar, strumming the opening notes to “Simplemente Gracias” along with the piano player and saxophone. A fan near the front row took this opportunity to propose to his girlfriend at his very moment. They caught the attention of Muñoz, who stumbled over his lyrics as he congratulated the couple.

    “I wrote that song six years ago for my soon-to-be wife, specifically to sing at our wedding” said Muñoz as the crowd clapped for the happy couple. He asked their names, which were Luis and Riley, and toasted his best wishes once again.

    “Les gustan los corridos, Houston?!” he asked before playing “Javier El De Los Llanos” and “Consejos Gratis.” I swear, the list of hits that Eden has written is so extensive, and all are crazy good.

    One of the highlights of the evening was the “Ruleta de Homenajes” that picked a seemingly random Mexican music legend for the band to cover. Last night, this included tributes to Selena, Valentin Elizalde, Vicente Fernandez, Joan Sebastian, Chalino Sanchez, Ramon Ayala, and Marco Antonio Solis. My favorite though was probably the cover of “Como Estás Tú” by the cumbia group Liberacion. If I had a date to this show, I definitely would have danced to this one!

    This show really felt like a celebration, as if the banda was playing en la feria or at a jaripeo. I’m sure Muñoz and his banda could easily play another two or three more hours, but alas… all good things come to an end.

    Gracias Eden. Simplemente, gracias!

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    Marco Torres

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  • Gunna and The Bittersweet Tour Land at 713 Music Hall

    Gunna and The Bittersweet Tour Land at 713 Music Hall

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    “I heard we got a sold-out show,” exclaimed Gunna as he walked across the 713 Music Hall stage. Behind him the massive, crumbling head of a statue in his likeness laying on its side was illuminated by colorful lights.

    “How many day one fans are out there?!”

    As the crowd screamed in unison a jungle motif projected behind the colossal head making it appear as though the entire building was slowly drifting through the rain forest. As Gunna made his way to stand on his likeness the beat to “Sold Out Dates” began blasting through the hall. The Bittersweet Tour was finally touching down in Houston.

    It’s been an interesting couple of years for Sergio Giavanni Kitchens. The rapper known as Gunna was a part of the 28-person, 56-count RICO indictment filed in Fulton County which still has YSL Record label boss, Young Thug, is in custody as the trial commences. Gunna pled guilty to a single count of racketeering and was sentenced to five years which was quickly commuted to time served, probation, and a release from jail.

    The release and the convoluted nature of the case had fans giving online speculation about Gunna being a snitch as well as questioning his relationship with Young Thug and other members of Hip Hop in general. His plea deal had entertainers like Freddie Gibbs, Boosie, Kid Cudi, Lil Duval, Jacquees and more giving positive and negative takes about the College Park MC’s release. The rapper was even mentioned by name in the string of disses going back and forth between Kendrick Lamar and Drake with Lamar rapping “We ain’t gotta get personal, this a friendly fade, you should keep it that way/ I know some shit about n$##as that make Gunna Wunna look like a saint.” Gunna simply responded by tweeting “Mannn WASSAM ?!!” and went on about his day.

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    The “Drip or Drown” MC brings his Bittersweet Tour to Houston.

    Photo by Sean Thomas

    Gunna appears to have ignored most of the talk about the case, instead pouring himself into the music. In 2023, in the face of much skepticism, the rapper released A Gift & a Curse, his fourth studio album which quickly gained the top spot on the Billboard Hip Hop and top R&B charts. The album was a surprise release and had Gunna standing on his own with no guest artists.

    The results were chart topping singles like “Bread & Butter” and the social media sensation “FukUMean”. Continuing to bank on the success Gunna returned earlier this month with One of Wun, another collection of laid-back, catchy, melodic singles which, once again, jumped to the top of the Billboard charts. While the album features Offset, Normani, Leon Bridges, and Roddy Ricch the majority of the 20-track offering is solely helmed by Gunna.

    The lead single “Whatsapp (Wassam)” has the Georgia MC back to business as usual with an accompanying video of him connecting with various figures worldwide in entertainment via his phone as he is fitted for a suit in a fashion show. The rapper has become a fixture in the fashion world appearing alongside runways in Paris, turning heads at the Met Gala, taking riskier clothing decisions in front of the paparazzi, and releasing his own clothing brand through the online retailer, BoohooMAN. It’s safe to say that Gunna is confidently back in his zone.

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    Flo Milli takes a selfie with a fan.

    Photo by Sean Thomas

    That confidence is what the MC relies on as he graces the stage of 713 Music Hall. He exudes whether he is bouncing through the audience or on stage. The show strictly relies on his charisma as he moves through hits like “South to West”, “Met Gala,” “Drip Too Hard” and “Whatsapp (Wassam)” but his connection is especially evident with the crowd when transitioning from “Top Off” to “P Power.” At one point the MC simply put down the microphone and danced to the sold-out crowd rapping his lyrics acapella.

    The Bittersweet Tour is a 16 date, North American showcase which has the MC hitting cities like Miami, Seattle, Chicago, and, of course, Houston. The tour features 23-year-old Alabama upstart Flo Milli as well as a partnership with the Black Music Action Coalition and Live Nation to support Gunna’s non-profit organization Gunna’s Great Giveaway. If his most recent success is any indication expect to see more of the Georgia MC in the future.

    Setlist
    01. “Bittersweet”
    02. “Whatsapp (Wassam)”
    03. “Prada Dem”
    04. “Back At It”
    05. “Bottom”
    06. “Cash Sh*t”
    07. “IDK Nomore”
    08. “South To West”
    09. “Dollaz On My Head”
    10. “Met Gala”
    11. “Yosemite” (Travis Scott cover)
    12. “Pedestrian”
    13. “Sold Out Dates”
    14.”Drip Too Hard”
    15. “Top Off”
    16. “P Power”
    17. “Poochie Gown”
    18. “Nasty Girl/ On Camera”
    19. “Baby Birkin”
    20. “[New Song]”
    21. “Banking On Me”
    22. “Alright”
    23. “Bread & Butter”
    24. “Back To The Moon”
    25. “Paybach”
    26. “Turned Your Back”
    27. “Go Crazy”
    28. “I Was Just Thinking”
    29. “Drip Or Drown”
    30. “[New Song]”
    31. “Hot” (Young Thug cover)
    32. “Ski” (Young Thug cover)
    33. “Oh Okay”
    34. “Pushin P”
    35. “Fukumean”
    36. “Rodeo Dr”
    37. “Livin Wild”
    38. “[New Song]”
    39. “This Year (Blessings)” (Victor Thompson cover)

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    DeVaughn Douglas

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