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Texas Troubadour Goes to Africa

Honky tonk hero Kevin Fowler on being just like his fans and hunting wildebeest

Jonathan Rienstra
Sep 10, 2013 | 3:28 pm
Honky tonk hero Kevin Fowler on being just like his fans and hunting wildebeest
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Back in 2011, Kevin Fowler released his sixth studio album, Chippin’ Away. An ode to the slow but steady ascension Fowler has experienced on the charts since he began performing Texas country in the late ’90s, Chippin’ Away was the most successful album to date for the honky tonk troubadour, peaking at No. 8 in the U.S. Indie chart.

“It’s been a long time coming,” says Fowler, who calls Austin home. “It’s always been a slow grow thing; I never had that year that just blew me away. But I try to be like the Energizer bunny, and I just feel lucky every year that I still have a job.”

“The fans and I are one in the same,” Fowler says. “We like pickup trucks and beer, and we work hard during the week.”

These days Fowler is touring tirelessly throughout the Midwest and South as he plans to release his seventh album, How Country Are Ya?, on November 12. His tour (he plays Lakefest in Grapevine October 5) takes him from Kansas to Georgia back to Texas in the span of three weeks.

Although Fowler loves seeing the Texas state line every time he returns from a gig, he’s more in love with the fact that there are people as far away as Chicago clamoring for Texas and red dirt country shows to play in their towns.

“If you go back to 2000,” he says, “there wasn’t this huge scene. It was me, Pat Green, Roger Creager and Cory Morrow all playing the same spots. It’s a cool ride to see what it is now and how supportive it is throughout the country.”

For How Country Are Ya?, Fowler decided to return to his roots and produce the album under his own label. He invited his friends, including Texas country artists Josh Abbott and Cody Johnson, out to his property in Wimberley to help him write and hang out and drink beer.

Fowler recorded the album in Austin and is releasing the title track as the first single on September 9. “It’s a throwback to where I used to make records before business got involved,” he says. “If this one sucks, there’s only one guy to blame.”

The method may be a throwback for this next album, but Fowler says that fans can expect a growing musical style.

“Any album is a snapshot in time, where you are musically at that point,” he says. “I don’t want to be writing the same thing over and over. I can only write ‘Beer, Bait & Ammo’ so many times. This album is a lot of introspection of who I am and of growing up as a poor panhandle kid.”

Fowler says that even as his music has grown and changed, he hasn’t had to worry about alienating his fans, because he writes the kinds of songs he wants to hear.

“The fans and I are one in the same,” he says. “We like pickup trucks and beer, and we work hard during the week. Knock on wood, these songs connect with the fans.”

Although he’s known for sticking around after shows, giving autographs to everyone who asks, his fan appreciation is about to go to the next level, as he’s currently part of a contest for a week-long African safari with one fan.

The all-inclusive trip was put together by one of Fowler’s hunting friends, who owns a bumper and brush guard company called Tough Country. The contest, which ends October 31, will feature Fowler and the Tough Country crew flying to South Africa with the winner to hunt blesbok and wildebeest.

“I didn’t have to do much except agree to do it,” Fowler says, “but me and one fan will get to travel halfway around the world and see some things we’ve never seen before.”

unspecified
news/entertainment
series/dtx-music-scene-2013

Movie Review

Korean monster movie Hope delivers thrills despite its lengthy runtime

Alex Bentley
Sep 9, 2026 | 12:30 pm
Hwang Jung-Min and Hoyeon in Hope
Photo courtesy of Neon
Hwang Jung-Min and Hoyeon in Hope.

Monster movies can take on all sorts of different flavors, from all-out mayhem to quieter ones where the monster can sometimes be the protagonist. The new South Korean film Hope splits the difference to a degree, delivering action-packed sequences while also attempting to understand the non-humans in a way.

The story starts in medias res, with an unseen creature having already done great damage to a huge bull and laying waste to much of a small Korean town. The local sheriff, Beom Seok (Hwang Jung-Min), tries to take control of the situation in the town, while a group of hunters led by Sung Ki (Zo In-Sung) travel into the nearby woods to see what they can find there.

Thus starts a nearly nonstop, 160-minute epic of each side trying (and mostly failing) to defend themselves against gigantic creatures who seem hellbent on destroying everything in their path. It’s not until 40 minutes into the film that the audience is shown one of the monsters in detail, and the less said the better about what it actually looks like, as the mystery behind it keeps the intrigue going.

That initial section of the film is the best, as Beom Seok — eventually joined by deputy Sung Ae (Hoyeon) — goes on a frantic hunt around the town, always just far enough behind the monster to keep from seeing it. The utter destruction he witnesses and his interactions with various locals are intense and oddly funny, with the hectic conversations he has laced with fear and incredulity over how different people choose to act.

Writer-director Na Hong-jin bounces back and forth between the people in the town and the group in the forest, doing his best to maintain the momentum of the first section. This approach works for a while as each group makes their own discoveries about the creatures and has run-ins with them that more often than not are ill-fated. Using a mixture of relatively good CGI, great production design, and an abundance of gore, the filmmaker shows he knows how to make an effective blockbuster-style film.

The trouble is, he doesn’t know when to stop. Somewhere around the two-hour mark of the movie, the story starts to become repetitive and Hong-jin introduces elements that don’t mesh well with what has come before. For some reason, he decides that some of the creatures should speak, a move that is baffling on several fronts. The biggest one is that they are voiced by English-speaking actors like Michael Fassbender, Alicia Vikander, and Taylor Russell, but each speaks a non-human language, rendering their performances moot.

Jung-min puts in a fantastic lead performance, one that requires him to vacillate between abject terror and in-control leadership. In-Sung is almost as good, although his character requires him to play one note over and over again. Hoyeon, who some may recognize from Squid Game, delivers an extra shot of energy when she enters the film, something she keeps going despite her character being forced to say some bad lines.

If Hong-jin had kept the focus Hope a little tighter, the sci-fi thriller might have ended up toward the top of this year’s films. But by choosing to extend the story into territories that don’t add much to the plot or make much sense, the filmmaker puts a damper on what was a fun and brutal monster movie.

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Hope is now playing in theaters.

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news/entertainment
series/dtx-music-scene-2013

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