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Rock Band With a Fiddle

Reckless Kelly frontman Willy Braun digs the camaraderie in Texas music

Arden Ward
Sep 27, 2013 | 8:51 am
Reckless Kelly band picture play icon
Reckless Kelly's eighth album, Long Night Moon, was released September 3.
Photo courtesy of Reckless Kelly

Reckless Kelly may be known as a Texas band, but these musical veterans have roots far and wide. Led by brothers Willy (lead singer) and Cody Braun, Reckless Kelly was first established in Bend, Oregon.

The band relocated to Austin in 1996, where its live shows made a legend out of Lucy's Retired Surfer Bar on Monday nights. Playing a brand of roots rock that leans heavy to the rock side of the equation, the band is a stalwart — an inspirational success story — of the modern Texas music movement.

"We're basically just a rock band with a fiddle, so people can just call us whatever they want as long as they're still coming to the shows."

In early September, Reckless Kelly released its eighth studio album, Long Night Moon. The follow-up to 2011's Grammy-nominated Good Luck & True Love, Long Night Moon is a tight, well-constructed album that takes the band to new heights with a cohesive sound and thematic subject matter.

"We're on the road a lot," says frontman Willy Braun, speaking of the latest album's travel theme. Between traveling to gigs and spending time in Idaho and Austin, Braun noticed most of the songs he was writing for the new album talked about traveling and going back home.

"I decided to go with it ... steering most of the songs in that direction," he says.

The album's first single, "The Last Goodbye," is an easy-listen tune with a rock-and-roll backbone and simple melody. "The single's doing well," Braun says, "climbing up the old Texas charts." In addition to the single, there are a few hidden gems on the album that Braun thinks fans — new and old — will appreciate.

"We’ve got a couple of things on there that we haven’t really done before, arrangement-wise. There are three songs at the end that run into each other as a trilogy," he says. "We worked on that for a while, and that’s something I’d thought about and wanted to do for a long time. It was really cool to see that all come together."

In support of the new release, Reckless Kelly is currently touring nationwide (with a few select stops in Texas). "We’ve been going outside of Texas for a while — almost our entire career," Braun says. "We probably spend more time outside of Texas than we do inside."

"We probably spend more time outside of Texas than we do inside."

The band has no challenge filling seats outside of Texas, thanks to years of touring both coasts and camaraderie among the Texas music scene. "All of the bands [from Texas] that go out there are talking about the other bands," he says.

"There’re a lot of people helping each other out out there. They’re spreading the word, and I think that’s one of the cool things about the scene," he says. "[Other bands will] give you shout outs and talk about you and turn people on to your music."

Although Reckless Kelly is undoubtedly part of the Texas music scene, Braun and his bandmates don't subscribe to a "Texas country" label — and they never have. "We always just call it roots rock or country rock or alternative country," Braun says.

Texas country, he explains, gets looped a little too tightly to country music for Reckless Kelly's sound. "We’re basically just a rock band with a fiddle, so people can just call us whatever they want as long as they’re still coming to the shows."

For this "rock band with a fiddle," there aren't specific influences that Braun draws on for inspiration. "You always get influenced by what’s around you," he says. "But you kind of want to take those as broad inspirations, you know influences, instead of trying to, oh, copy anything — for lack of a better word."

"I get a lot of my ideas out of books and looking around, seeing what’s going on around you," he says. "Pretty much anything can be written about. It’s just finding the right way to say it."

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.

---

Hope is now playing in theaters.

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