Concert News

The Black Crowes extend Southern hospitality to Dallas on 2026 tour

The Black Crowes will play at Dos Equis Pavilion in Dallas on August 9, 2026.

Photo by Errol Colandro

Rock band The Black Crowes will embark on the massive Southern Hospitality Tour in 2026, which will include a stop at Dos Equis Pavilion in Dallas on Sunday, August 9.

While the majority of the tour will feature the group - led by brothers Chris and Rich Robinson - co-headlining with Texas rock band Whiskey Myers, the Black Crowes will be the sole headliner in Dallas, joined by opening act Southall.

The 41-city tour will kick off in Austin on May 17, the first of 36 cities to feature Whiskey Myers. In fact, Dallas will be the only Texas date not to include Whiskey Myers, as they'll also appear at the August 8 date in Houston suburb The Woodlands.

The Black Crowes celebrated their 40th anniversary in 2024, having formed in Atlanta, Georgia in 1984. They wouldn't release their first album until Shake Your Money Maker in 1990.

Their first two albums - The Southern Harmony and Musical Companion followed in 1992 - made them a staple of early '90s music thanks to hits like "Hard to Handle," "She Talks to Angels," "Remedy," and more.

After one hiatus and one "breakup," the Black Crowes have been back together since 2019. This tour will be in support of their new album, A Pound of Feathers, set for release on March 13.

Tickets for the tour will be available starting with an artist presale on Tuesday, February 3 at 12 pm; fans can sign up for the presale at theblackcrowes.com. Fans who sign up for the artist presale will unlock an exclusive new recording.

Additional presales will follow, including a Citi presale and Mastercard presale beginning on Tuesday, February 3 at 12 pm.

The general on-sale begins on Friday, February 6 at 10 am at LiveNation.com.

Southern Hospitality North American Tour Dates

May 17 – Austin, TX – Moody Center
May 19 – Rogers, AR – Walmart AMP
May 21 – Nashville, TN – Bridgestone Arena
May 23 – Alpharetta, GA – Ameris Bank Amphitheatre
May 24 – Birmingham, AL – Coca-Cola Amp
May 26 – Brandon, MS – Brandon Amphitheater
May 27 – Orange Beach, AL – The Wharf Amphitheater
May 30 – Hollywood, FL – Hard Rock Live
May 31 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
June 2 - St. Augustine, FL - St. Augustine Amphitheatre
June 4 - Augusta, GA - Bell Auditorium
June 6 – Charlotte, NC – Truliant Amphitheater
June 7 – Raleigh, NC – Coastal Credit Union Music Park
June 9 – Cincinnati, OH – Riverbend Music Center
June 10 – Cuyahoga Falls, OH – Blossom Music Center
June 12 – Camden, NJ – Freedom Mortgage Pavilion
June 13 – New York, NY – Forest Hills Stadium
June 16 – Columbia, MD – Merriweather Post Pavilion
June 17 – Bridgeport, CT – Hartford HealthCare Amphitheatre
June 19 – Mansfield, MA – Xfinity Center
June 20 – Newark, NJ – Prudential Center
July 17 – Indianapolis, IN – Ruoff Music Center
July 18 – Clarkston, MI – Pine Knob Music Theatre
July 21 – Toronto, ON – RBC Amphitheatre
July 22 – Grand Rapids, MI – Acrisure Amphitheater
July 24 – Tinley Park, IL – Credit Union 1 Amphitheatre
July 25 – St. Louis, MO – Hollywood Casino Amphitheater
July 28 – Shakopee, MN – Mystic Lake Amphitheater
July 30 – Kansas City, MO – MORTON Amphitheater
August 1 – Colorado Springs, CO – Ford Amphitheater
August 2 – Denver, CO – Fiddler's Green Amphitheatre
August 4 - Lincoln, NE - Pinewood Bowl Amphitheater
August 6 - Tulsa, OK - Hard Rock Hotel & Casino
August 8 – Houston, TX – Cynthia Woods Mitchell Pavilion
August 9 – Dallas, TX – Dos Equis Pavilion
August 12 – Nampa, ID – Ford Idaho Center Amphitheater
August 13 – Salt Lake City, UT – Utah First Credit Union Amphitheatre
August 15 – Phoenix, AZ – Mortgage Matchup Center
August 17– Hollywood, CA – Hollywood Bowl
August 19 – Wheatland, CA – Toyota Amphitheatre
August 20 – Mountain View, CA – Shoreline Amphitheatre

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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Photo by Betina La Plante/Focus Features

Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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