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Minus the Dixie, The Chicks make it a family affair at Dallas concert

Alex Bentley
Oct 11, 2022 | 11:56 am
The Chicks in concert at The Pavilion at Toyota Music Factory in Irving

The Chicks played the first of two concerts at The Pavilion at Toyota Music Factory in Irving on October 10.

Photo by Jamie B. Ford/LiveNation

The last time the band now known as The Chicks played in Dallas-Fort Worth in 2016, they still had the word "Dixie" attached to their name as they embarked on their first tour in 10 years. The group — comprised of lead singer Natalie Maines and sisters Martie Maguire and Emily Strayer — likely didn't intend for it to be another six years before they returned again, but they made up for lost time in a 2+ hour concert at The Pavilion at Toyota Music Factory in Irving on October 10, the first of two straight nights at the venue.

In front of a nearly sold-out crowd that skewed female, the Chicks put on a show that relied heavily on songs from their latest album, 2020's Gaslighter, which was released soon after they changed their name due to the negative connotations surrounding the word "Dixie." That album was inspired by the personal lives and divorces of the band members, most notably Maines, featuring songs with highly specific references like the title song, "Sleep at Night," and "Tights on My Boat."

Ten of the 23 songs the group played on Monday night came from that 12-song album, an indication that the Chicks were itching to showcase the music for their fans as this is their first tour since the album was released. Although "Gaslighter" is the signature song from that release, fan favorites appeared to be the jaunty "Texas Man," which echoes their previous work while still telling a personal narrative, and "March March," a protest song that becomes even more powerful when combined with the video, which concludes with a seemingly never-ending list of Black people who have been unjustly killed (the list becomes even longer in the version shown behind the band on stage).

As with their 2016 show, which came amid the run-up to that year's hugely consequential presidential election, the Chicks fearlessly let their political leanings be known.

Maines wore a blouse with "It's My Body" written on it, which is both a lyric from their song "Everybody Loves You" — during which Strayer played a piano with a "Beto for Texas" sticker prominently displayed on it — and a pointed allusion to the abortion debate. They also featured animated caricatures of Texas Governor Greg Abbott, Senator Ted Cruz, and five of the six conservative Supreme Court justices during "Tights on My Boat," a song about an affair Maines' ex-husband had, but that took on a new meaning with the visuals.

The mostly high-energy night, underscored by a bank of video walls on stage that displayed a variety of supplemental animation and video footage, was complemented by a six-song section in which the entire band sat down near the front of the stage to play jam band versions of songs like "Lubbock or Leave It," "Cowboy Take Me Away," and "Truth No. 2." The latter was written by opening act Patty Griffin, who re-emerged to sing it as a duet after delivering her own powerful set. Notably, none of the six songs came from the newest album, a nod to how the group has changed over the years.

Another change is that the tour has now become a family affair for the Chicks. Maines' dad Lloyd - who was one of the first three members of the Austin City Limits Hall of Fame alongside Willie Nelson and Stevie Ray Vaughan — has long gone out on tour with the group, but now her son, Slade Pasdar, is featured as a guitarist. Maguire's daughter Eva also joined her mom in playing fiddle during the poignant song "For Her."

Even though the concert tilted toward Gaslighter, the Chicks know the songs their fans want to hear, which is why they ended the night with the barnburners "Not Ready to Make Nice" and "Goodbye Earl." Both songs feature women standing up to people who have done them wrong, a fitting conclusion to a night in which giving strength to women was the focal point.

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The Chicks will play a second show at The Pavilion at Toyota Music Factory on October 11 at 7:30 pm.

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Movie Review

Shaun the Sheep gets PG-spooky in new movie for the Halloween season

Alex Bentley
Sep 18, 2026 | 11:50 am
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

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Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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