Loud Music News

Extra-loud tour with Coheed and Cambria and Mastodon hits Irving venue

Behold the Coheed.

Photo by Brandi Schulz

Two of the most popular loud music bands will join forces in summer 2019 on an epic cross-country tour, with a stop in the Dallas area: Coheed and Cambria, the modern progressive rock band, and heavy rock titans Mastodon will embark on The Unheavenly Skye Tour, making a stop on July 3 at Toyota Music Factory in Irving.

The 26-city trek will see the bands perform across a range of venues, from theaters to larger outdoor amphitheaters.

Coheed and Cambria will be performing in support of their new album, The Unheavenly Creatures. Possibly even better: Mastodon will perform their renowned 2009 album Crack the Skye in its entirety.

Hardcore band Every Time I Die will support on all dates.

Mastodon is considered one of the most respected and influential bands of their generation. The Atlanta quartet formed in 2000 and is known for intricate lyrical conceptual odyssies interwoven with dynamic virtuosity. Emperor Of Sand, their eighth and current studio album marks their fourth consecutive album to enter the Billboard Top 200 Album charts in the Top Ten.

They received Grammy nominations in 2007, 2014, and 2015. They've dabbled in film music including songs for Academy Award-winning comedy The Big Short, animated blockbuster Monsters University, and sci-fi western Jonah Hex for which the group composed the score.

After contributing a song to HBO's Game of Thrones, drummer Brann Dailor, guitarist Brent Hinds, and guitarist Bill Kelliher appeared as wildlings in two episodes of the show.

The Heavenly Skye tour kicks off in Louisville on May 28, and will make stops in Boston, Chicago, Denver, Los Angeles, and more.

The Irving date will be the final stop on the tour.

Tickets go on sale to the general public beginning February 15 at 10 am at LiveNation.com. An artist presale will be available from February 13 at 10 am through February 14th at 10 pm. Like a little Valentine's Day gift.

Tour dates are as follows:

May 28, Louisville, Iroquois Amphitheater
May 29, Columbus, Ohio, Express Live! Outdoor Amphitheatre
May 31, Atlanta, Coca-Cola Roxy
June 01, Simpsonville, South Carolina, CCNB Amphitheatre at Heritage Park Simpsonville
June 02, Baltimore, MECU Pavilion
June 04, Asbury Park, New Jersey, Stone Pony Summer Stage
June 06, Boston, Rockland Trust Bank Pavilion
June 07, New York, Ford Amphitheater at Coney Island Boardwalk
June 08, Camden, New Jersey, BB&T Pavilion
June 10, Pittsburgh, Stage AE – Outdoors
June 11, Detroit, Michigan Lottery Amphitheatre at Freedom Hill
June 13, Council Bluffs, Iowa, Harrah's Council Bluffs - Stir Cove
June 14, Chicago, Huntington Bank Pavilion at Northerly Island
June 15, Minneapolis, The Armory
June 18, Kansas City, Missouri, Starlight Theatre
June 19, Denver, Fillmore Auditorium
June 20, Salt Lake City, The Great Saltair
June 22, Seattle, Marymoor
June 23, Portland, Theater of the Clouds at Moda Center
June 25, San Francisco, The Masonic
June 26, San Diego, Petco Park - Park at the Park
June 28, Las Vegas, The Joint at Hard Rock Hotel & Casino Las Vegas
June 29, Los Angeles, Greek Theatre
June 30, Phoenix, Nevada, Comerica Theatre
July 02, Austin, Austin360 Amphitheater
July 03, Irving, The Pavilion at Toyota Music Factory

Coheed and Cambria's The Unheavenly Creatures came out in October 2018, and debuted at #1 on Billboard's Hard Rock Albums chart, as well as the Top 15 on the Billboard 200 chart. Boasting 15 songs over 78 minutes, the album marked Coheed and Cambria's return to concept albums.

concerts

Movie Review

Amanda Seyfried and Sydney Sweeney go off in trashy film The Housemaid

Photo courtesy of Lionsgate

Amanda Seyfried and Sydney Sweeney in The Housemaid.

Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

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The Housemaid is now playing in theaters.

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