Dallas fans of the folk rock group Mumford & Sons have been waiting a long time for the band to head this way again. But their patience will be rewarded on June 11 when Mumford & Sons stop by Gexa Energy Pavilion alongside Michael Kiwanuka and Mystery Jets.
It's been so long since Marcus Mumford and his bandmates graced our fair city that they hadn't even been nominated for their first Grammy Award yet. That was way back in November 2010 at House of Blues Dallas. Since then they've gone on to be nominated for 12 Grammys and win two, including Album of the Year for their latest, Babel.
Mumford & Sons is at the forefront of a somewhat unlikely folk rock revival. Groups such as Old Crow Medicine Show and The Avett Brothers have been around longer, but they all seemed to operate under the radar until the emergence of the British band. Now those other groups and newer ones like The Lumineers, nominated for Best New Artist at this year's Grammys, are reaping the rewards that had previously eluded them.
True to form, Mumford & Sons are not doing a full North American tour. The Dallas date is just one of 17 new concerts that will be interspersed between previously announced festival stops and the group's so-called "Gentleman of the Road Stopover" tour. The majority of those 17 concerts will take place in Western states.
You can register now for an invitation-only presale designed to give as many people as possible an equal chance at buying tickets — and to make sure those tickets end up in the hands of true fans. Tickets will go on sale to the general public April 5.
As recently as the late 2010s, if a movie was made about an LGBTQ+ character, it was more than likely about their coming out experience. Romance, if it existed, was typically chaste, and actual sex was almost completely out of the question. Things have changed dramatically in the 2020s, to the point that a major movie star has no issue starring in a film called Queer.
Based on the 1985 novella by William S. Burroughs, the film features William Lee (Daniel Craig), whom everyone calls just Lee, a writer living in 1950s-era Mexico City who spends most of his time haunting local bars with friends like fellow writer Joe Guidry (Jason Schwartzman) and hitting on younger men. His early interactions in the film seem to indicate that Lee has a bad reputation within the local gay community, as multiple people avoid him or give him odd looks.
Lee senses an opportunity when he encounters a newcomer, Eugene Allerton (Drew Starkey). Despite some awkward interactions, the two of them start spending time together, although Lee has much more invested in the relationship than Eugene does. Their hit-and-miss bond continues until Lee, who’s starting to get into drugs in addition to the booze, convinces Eugene to accompany him on a trip to South America.
Directed by Luca Guadagnino and written by Justin Kuritzkes (making their second straight film together after Challengers), early on the film seems to be mostly about the divide between an older person who’s grown comfortable in his ways and a younger person who’s living a relatively carefree life. The introduction of drugs into the plot changes things, though, with Lee searching out more ways to open his eyes to what the world has to offer.
Guadagnino and his team use some interesting visual storytelling techniques to introduce ideas that may not be present in the actual script. The most successful, demonstrated in multiple scenes, is the superimposition of movements by Lee over what’s actually taking place in the scene. The subtle overlay gives the audience insight into Lee’s true feelings, showing what he can’t or won’t say out loud.
Music also plays a big part in how the plot is perceived, with the use of anachronistic songs from Nirvana and Prince serving to heighten certain moments. The score by Trent Reznor and Atticus Ross is not as in-your-face as the one they did for Challengers, but it complements the film well, especially when the plot starts to get trippy in its final half hour.
Craig, who appears sweaty and disheveled for much of the film, is about as far from the suaveness of James Bond as you can get in this role. He takes multiple risks with his performance and almost all of them pay off. Starkey’s character is subdued by comparison, but still comes off well. Schwartzman and Lesley Manville are given showy roles, with both using altered appearances that make them nearly unrecognizable to deliver memorable performances.
Queer is not as accessible as Challengers was storytelling-wise, but the fact that it tells a story about gay men living their lives as they see fit with no interference or questions shows how far the film world has come in a short period of time. It also continues Guadagnino’s streak of making audacious films in a way that few other filmmakers are willing or able to approach.
