Jason Statham is back doing what Jason Statham does best: playing a seemingly ordinary man with extraordinary combat skills, an unshakable demeanor, and an uncanny ability to dispatch bad guys with ease. Unfortunately, A Working Man brings nothing new to the table, making it feel like a lesser version of his previous films, particularly The Beekeeper and Wrath of Man.
The biggest problem with this film isn’t just that Statham is on autopilot—it’s that everything around him is, too. The villains are so cartoonishly over-the-top that they never feel like a real threat. Instead of creating tension or danger, they come off as caricatures, making the action feel hollow. A good action film needs a strong antagonist to balance its hero, but here, Statham’s character is never truly challenged.
Another major misstep is how Statham’s character (whose name is so forgettable that I may as well just keep calling him Jason Statham) ascends the ranks of the criminal underworld. The way he maneuvers through their organization is so convoluted and nonsensical that it quickly becomes distracting. A good B-movie thrives on simplicity and tight execution, but this one gets bogged down in unnecessary complications that don’t add up.
Perhaps the most disappointing aspect of A Working Man is that it comes from director David Ayer, who has proven he can deliver gritty, engaging action with films like Fury and last year’s The Beekeeper. Here, though, the script’s glaring holes, uninspired storytelling, and lack of a real challenge for its lead weigh everything down.
While Statham has made a career out of playing the same type of character, this time, it just doesn’t land. There’s a fine line between consistency and stagnation, and A Working Man unfortunately falls on the wrong side of it. For longtime fans of Statham’s brand of action, this might still be a serviceable watch, but for anyone hoping for something fresh or engaging, it’s a letdown.
Ah, SXSW—the annual pilgrimage where sleep is optional, lines are inevitable (unless you have a fancy badge like me), and discovering your new favorite band is just a wrong turn away. This year, I had the honor of being a Music Mentor, which basically meant I got to skip a bunch of lines and pretend I knew what I was talking about. Between catching insane live sets, running into nerdcore legends, and witnessing a band perform with actual puppets, it was a week of pure, beautiful madness. Here’s my completely unfiltered, sleep-deprived recap.
Nothing like an early morning flight from TPA to AUS to remind you that sleep is for
the weak.First stop: badge pickup. This year, I was a Music Mentor, which means I was an “Official Speaker.” This also means I had the SXSW equivalent of a Disney Fastpass and could waltz past lines like a VIP.After securing my golden ticket, I hit SXSW Songs at Arlyn Studios, an
international songwriting camp where artists, producers, and songwriters from all over the world
come together to create magic. It’s one of the best-kept secrets of SXSW—like a hidden level in a video game.First show of the week? Japanese heavy metal band Gokumon. They had
synchronized dance moves, headbanging, their own hype person, and even projected lyrics in both Japanese and English. Their soundcheck was so serious I half expected a NASA countdown. 10/10, would headbang again.People say “Rock is Dead” while a Japanese band absolutely destroys a venue in Austin, Texas, in front of a mostly Japanese audience. Yeah… rock’s fine, guys. Maybe you just need to leave the US.“Hey man, are you a Bucs fan?” “Nah cuz, the hat just goes with the shoes.”It doesn’t get any more Austin than Bob Schneider, who’s been playing at Saxon Pub
every Monday for 26 years. I caught him not at Saxon, but performing a few songs for a live
radio broadcast on Sun Radio.Randomly ran into MC Frontalot, a nerdcore hip-hop pioneer (per Wikipedia, the
most trusted source of SXSW bathroom line debates). We had a full conversation before I
realized who he was. Later, I tried to watch his documentary, Nerdcore Rising, on the flight
home… but, plot twist: it’s not on streaming.Thanks to MC Frontalot, I caught British duo Alt Blk Era at Parish. Easily one of the best sets of the week. Their stage was a fog machine’s dream, and their lyrics included gems
like: “She’s snorting cocaine every other weekend / She’s partly insane, she’s my drummer’s
girlfriend.” Poetry.Hardcore Montreal band Truck Violence performed like they had a personal vendetta against silence. I respect the energy.Saw the amazing Quelle Rox at the very fancy Driskill Hotel during a party hosted by
Notorious Noise and The Luna Collective—two badass, women-run companies with
impeccable taste. Nothing says “rock and roll” like a luxurious chandelier above a mosh pit. Baths played in direct sunlight at Flood Magazine’s Floodfest, making it the
Hottest Set at SXSW (literally). We all barely survived. This was my annual reminder to drink
water.Irish post-punk band Gurriers played next and proved why they were one of the
most hyped bands this year. With 35% of SXSW bands coming from overseas, it felt like Austin became the most cultured city in Texas.Tried to see Dead Gowns at Cheer Up Charlie’s. This is as close as I got.The Creem Mag/Third Man Records Showcase was a masterclass in chaos, but
Brooklyn’s TVOD (Television Overdose) took the crown. They played 13 shows in 6 days, which is either legendary or a cry for help.Met Sons of Sevilla at a party early in the week. They told me about their set at the
Space Agency party, so I made it a point to check them out. Glad I did—great music, great
guys. Also, this is your reminder to talk to strangers (at SXSW, not in dark alleys).Speaking of the Space Agency party, the wildest set of the week came from
Worn-Tin and the Freak Nature Puppets. Yes, puppets. The crowd lost their minds. I can’t
even explain it, and honestly, I don’t want to.Acid Baby Jesus packed Hotel Vegas to the point where it was one in, one out the
entire set. I was shoved into a wall but accepted my fate. Greek psych rock waits for no one.Jasmine.4.t ended their set with a System of a Down cover, which instantly made
them my new favorite band.Before heading to the airport, I had to catch Frankie and the Witch Fingers. They
were the most talked-about band at SXSW, and somehow I had scheduling conflicts every time
they played—except for this one last set at the BrooklynVegan party. Perfect way to close out
the madness.
SXSW TLDR:
Rock is alive and well
Hydration is essential
Nerdcore legends walk among us
Puppets belong in live music
My SXSW Fastpass badge was the real MVP
See you next year, Austin.
About the Author: Randy Ojeda is an entertainment attorney dedicated to protecting the rights of musicians and creatives. As the founder of Randy Ojeda Law, he provides legal counsel on contracts, intellectual property, and business matters, helping artists navigate the complexities of the music industry. A graduate of Loyola University Chicago School of Law and a member of The Florida Bar, Randy combines his legal expertise with real-world industry experience. He is also the CEO and Co-Founder of Cigar City Management, an artist management company, and the host of Cigar City Radio, a podcast featuring interviews with musicians and industry professionals. Follow Randy @realrandyojeda https://www.randyojedalaw.com/
Last night, the Philadelphia Eagles won The Big Game.
While there was so much about the game that gave me goosebumps, electrified, and, honestly, inspired, the most exciting part for me – and for many – was the halftime show. For fear of being too petty (re: my issues with the Chiefs organization being too financially and outwardly supportive of the color orange, their players and families openly supporting the current regime, Butker, Swift, etc.), I’m going to spare you most of my thoughts.
But not about the halftime show. I’ll spare you nothing there.
The halftime show was remarkable from the first lines out of Samuel L. Jackson’s mouth – aka the only Uncle Sam I’ll ever listen to – all the way through the impactful GAME OVER finale. If you were allowed to watch and listen closely in your party environment, you probably noticed a bit more.
To begin, there wasn’t a single white performer on that field and I was living for it. It’s Black History Month, and our joke of a government is trying to erase that. This was a massive, immediate message to many people – one, in particular, who was actually there in person instead of doing their jobs correctly to protect our country from a coup.
The stage performance was just over 13 minutes of spectacular set design and art, beginning with video game audio and squares lit up like tic-tac-toe. (I have seen references to Squid Games, a show I will not watch. I’m sorry.) Samuel L. Jackson is lit up in the middle square to introduce Kendrick, who starts on top of a 1987 GNX wearing red, white, and blue, decidedly. The car is the namesake of his surprise sixth studio album, which was released last November. He’s also kneeling, with a single spotlight on him, completely alone. This, alone, was a statement to the orange one in who led people in tearing down those who protested during NFL games not so many years ago. The short song Lamar begins with appeared on teasers for the album and there are lines from it that immediately pulled at fans when the album came out, but isn’t an official track on any current releases.
In the first big choreographed moment, the lights strobe, a good amount of dancers in red square up and sync up, and Kendrick says, loudly, “The revolution’s about to be televised. You picked the right time but the wrong guy.” This line is a direct reference to a satirical poem released in 1970 by Gil Scott-Heron, which reads, “The revolution will not be televised.” This piece is a response to the spoken-word art “When the Revolution Comes” by The Last Poets, and mentions famous figures and cultural linchpins that serve as a smokescreen for the actual revolutionaries.
Kendrick reciting these words with the American colors around him, was an obvious poke at several people in attendance. It was also the first time I screamed out of excitement.
He pivots fast into “Squabble Up,” dancers in red, white, and blue sweatsuits surrounding him in various formations. After lining up, they start to step and it is a powerful moment of rhythm and control. Which is when Samuel L. Jackson steps back in and says, “No, no, no, no, no! Too loud! Too reckless! Too ghetto! Mr. Lamar, do you really know how to play the game? Then tighten up!”
And that beautiful man is a smokescreen for the watching audience. Because as he is screaming the same shit conservative media uses against people of color to delegitimize their art and their lives, the dancers are forming an American flag on the steps. And now the camera is back on Kendrick, in the center of that flag.
And so begins “Humble.” The crowd is roaring at this point, while these incredible male athletes/dancers engage in sharp movements that would be hailed as 11/10 at a cheerleading competition. Their precision was admirable, poetry in motion. This is when I started noticing some dancers had their faces covered, some had their heads wrapped.** Some you could see fully, and others had dyed their hair to match their outfits. I can only imagine that this type of scene is what scared some viewers into saying the halftime show was “scary” and “militaristic.”
That’s ok, but it was by design. The performance was meant to make us question things, created as a living protest, and isn’t threatening to the viewing public at all. So you might have to sit in that discomfort for a while.
He quickly launches into “DNA,” which famously challenges a deplorably racist Fox anchor’s comments about hip-hop being damaging to black people. He runs across the field to dance in front of varying dancer formations, then gives us some “Euphoria” and slows down for a rendition of “Man at the Garden” with a slew of dancers seemingly hanging out by a lamp post behind him.
“Peekaboo” begins after another appearance by Samuel, who – in keeping with the gaming theme – tells the scorekeeper that Lamar only has one life. Kendrick and his dancers are now inside one of the X’s on the field, looking like a Nintendo controller. He rotates thorough the “X,” bouncing around and making for a really interactive time with the television audience.
Then, Kendrick pauses and asks a group of female dancers, “I wanna perform they favorite song but you know they love to sue.” The introductory instrumentals to THAT SONG begin, and the crowd goes WILD. But he’s teasing us, and you can hear Samuel yell, “You’ve lost your damn mind!” while Kendrick slows everything down.
Smooth R&B starts, and he rolls right into a sultry version of “Luther” featuring the indelible SZA. Our girl first appears sitting down casually, decided out fully in a gorgeous red that perfectly matches her hair and goes well with Kendrick’s mostly-blue getup. This slower tempo moment allows them to really connect with each other on stage. It also gives the pair the momentum they need to launch into the Black Panther anthem “All the Stars.” SZA was A-plus, no notes. What a powerful, beautiful presence to have joined him on stage, a moment that got us extra amped for their upcoming tour.
Samuel L. Jackson comes back in with similar commentary as before, noting that “nice and calm” is “what America wants.” The humor and the magic in these moments cannot be spoken about enough, he was making fun of us to our faces and I truly couldn’t get enough of it. He was about to wrap it up all “politically correct” when Kendrick decided it was time.
“Not Like Us” was incredible, an aerial shot catching more sharp, beautiful moments from the dancers. The freestyle coupled with very impactful choreographed moves made it such a celebration of community and diversity at the same time. No one had to sing to make a deliberate, profound statement.
But he did. And when Kendrick did, he looked right down the barrel of the camera as he said, “Say, Drake, I hear you like them young.” The pettiness was palpable, but it was also powerful. Especially when you take into account all of the hushed rumors that have swirled about Drake and his preferences and behavior over the years. While some might take Lamar’s diss tracks as pure petty for the sake of being that way, he’s using his platform to call out unacceptable behavior that has (for some reason) been normalized. He’s calling things out, and he’s doing it strategically.
If you want to fight me about the fact that there are no current official allegations against Drake, I would like to say one thing. The cameras panned the stage pretty quickly, but you caught it as well. The GOAT Serena Williams was c-walking on stage. They showed her twice, living in her joy and dancing her ass off. Which most people would think nothing of until you realize two facts.
One, that this incredible talent was policed for celebrating at the Olympics in 2012 with the same c-walk or “Crip Walk” dance. The media and fans ripped into how the champion celebrated, which was no better or worse than anyone else. Now, she gets to do the same walk on the most televised event, and she gets to do it with ferocity.
Two, that Serena was romantically linked with Drake from 2010-2016. Having her dance during this diss track about him is an extra dig for her, but it’s also a statement. If you weren’t fascinated by the entire stadium singing “a minor,” the fact that Lamar was wearing a lowercase “a” chain – literally “a minor” -, or the flags that some dancers were flying with kids on them, then I need you to know it all happened and it’s all connected. Serena’s participation seems to be a co-sign that the claims in the song aren’t just claims.
Which should worry you, if you weren’t already aware – and nervous – of Drake’s shifty behavior.
For those who didn’t recognize all of the Easter eggs, Lamar worked with a team to build out a gaming controller set, dancing within different buttons. By the end, he was rapping, “turn the tv off, turn the tv off,” smiled into the camera, and then the lights went down on the floor and the lights in the seats spelled GAME OVER.
**I do want to recognize that during the telecast, one of the dancers bravely waved Sudanese and Gazan flags. Having some of the dancers wear face and head wraps helped to make this possible. It allowed for people to make their own statements showing as much or as little of their bodies as possible.
CBS Mornings took the helm celebrating the performance. “Everything he did had power, had purpose,” exclaimed Vlad Duthiers. But while they took time to discuss America’s reaction and the controversy around it all, they didn’t mention the live genocide protest or several very important Easter eggs. For the most part, even for as liberal as their cast is, you could see how the media is being asked to speak about the performance overall.
If you take that halftime show and couple it with the incredible pre-show performances by musical legends Lady Gaga and Jon Batiste – and “America The Beautiful” performed by Lauren Daigle and Trombone Shorty – the game was a full win all around. Those involved were pumping diversity into the mix, bringing us not just a variety of people of all different backgrounds and affiliations, but celebrating it. Plus, multiple genres were represented with a noticeable majority black performers.
For the record…
I love that the first black female coach in the NFL, Autumn Lockwood, took home a championship victory.
Two people got booed and I’m not mad at it.
The HAIM sisters passively existing everywhere makes me laugh a lot.
I’m overjoyed for SZA’s mom, specifically.
Paul Rudd looked like he wanted to melt into the floor of embarrassment, that poor man.
Jon Hamm lost his voice before the game, which makes him the real winner.
I’d like Bradley Cooper’s food truck to make a pit stop here.
We loved getting to spend a night with Yola at her event for the Grammy Museum! Taking place at WNYC’s Greene Space, we spent a cold, bitter night being warmed by Yola’s presence. Performing songs off her new EP, My Way, Yola took time to open up about her life, her musical roots, and her personal journey to becoming the woman she is today. The audience was completely captivated, as was I.
Enjoy videos from her live performance – and a look into her breathtaking presence – at the videos linked below!
Dick Prall is a sentimental man. The Iowa-based indie rock singer-songwriter has been going by the nickname his mother affectionately knew him by, Dickie, for the last decade as he’s unraveled his genius on the world. His talents have led him in a variety of directions musically over the last few years, but the same heart is at the center of every piece.
Dickie’s latest offering, Head Full of Hiss, is an EP that is equal parts honest and beautiful. The first track “Shakes You” is the piece’s gorgeous new single, and we are absolutely enthralled by it. The almost five-minute song is soft and folksy in its presentation early on. This allows you to be humbled by the man’s incredible vocal range.
At 2 minutes and 40 seconds in, the instrumentation becomes bolder and more drawn out. The song is from an observer’s perspective, identifying strength in another person. Wanting to emulate someone is such a bold form of flattery, but it is also a self-acknowledgment that there is room for improvement. And while the lyrics are a bit vague at times, there is a strength to it all that give this song strength to the ever-present, supportive, affirmative line “No one ever shakes you.” It feels brought to life in this moment, a song cut in two, a journey with a definitive “before” and “after.”
Dickie’s thought-provoking music is heartfelt, layered with emotion and raw talent in a unique and, honestly, addictive way. The new EP feels like the right listen at the right time.
“Shakes You” is now streaming everywhere you listen to music!
Traveling can truly take its toll on a person. And when you’re a traveling musician, it throws you off your routine for weeks — sometimes years — at a time. Creating an environment that relaxes and nourishes you and your tourmates is paramount in maintaining professional working relationships and allowing the tour to run smoothly. Having some items on hand can really benefit a musician or, really, anyone planning to travel.
We’ve combed through a host of fun gift ideas for your friend or family member who is a touring musician. If you have clients who are going out on the road soon, consider gifting them some practical items from the list. Take advantage of it right now for seasonal discounts and offers, and to make sure they’re stocked up for the next leg of their life’s work!
Maely’s Too-Pouty
Maely’s Too-Pouty is a game-changer for chapped lips, which are common when you travel. (As always, hydration is key!) Apply this lip mask twice a day — once when you wake up, and once before you fall asleep — to moisturize and soothe your lips. Add it on during the day for a slight plump if you’re feeling frisky.
Gimme Seaweed Snacks
Gimme makes a variety of flavored dried seaweed snacks that are the perfect, nutritional snack for any texture and flavor nerd. If you aren’t a fan of more grassy flavors, you might not be a seaweed person. But with powder flavored like white cheddar, sesame, and te among others, this little crispy treat ends up tasting more like a flavorful cracker than anything else. Add them to your soup or wrap homemade sushi in them for other options on the tour bus.
Fun hack: If you have a pet, the Imperfect Fifth mascot Schmidt – a buff tabby cat – is a huge fan of these seaweed snacks.
Blobs
Do you like fruity candies, but not the havoc they can wreak on your teeth, gums, and intestines? Candy is often one of the first things to go when adjusting your diet as you age. But what if there was a candy that had just four grams of sugar per bag?
Blobs are a fruity, flavorful, vegan, no-sugar-added gummy candy with just seven grams of carbs and 50 calories per bag. They come in the delightful flavor varieties of orange-peach, pomegranate-apple, and passionfruit-pineapple. They’re great travel companions if you’re looking for airplane or train snacks.
Unrelated but related: I’m such a big fan of the taste of these guys that I put Blobs stickers on my laptop and mini fridge.
Manifest Beauty Big Pout Energy Lip Plumper
This non-toxic lip color uses the natural tingling and plumping properties of chili to help improve the look of your lips. I noticed a subtle plumping effect but, even if you don’t, the flavor and tingling sensation help to make you feel more awake. (I know this from personal experience.) Working it into your look on stage can help you catch a second wind after a long day of press, or can help you feel perked up for an early wakeup call.
The Manifest Beauty Big Pout Energy gloss comes in the five color options of crystal clear, gold, spicy rose, chocolate chili, and scarlet flame. The pigment stays on well, with limited application necessary throughout the day.
Eight O’Clock Coffee
Since 1859, Eight O’Clock Coffee has been roasting beans and brewing up tasty trouble. They are currently the third largest seller of whole bean coffee in the United States, but are known for the bold flavors of every variety of coffee they sell. While the current name wasn’t created until 1919, this Landover, Maryland-produced coffee is absolutely a household name.
On the road, I’d suggest a bag or two of ground bean coffee. The Dark Italian Espresso roast can easily be flavored or enjoyed in a concentrated shot. It has a standout flavor and aroma that will get a musician out of bed quickly for an early bus call.
Eight O’Clock Coffee also makes K-Cup pods of their roasts. If your musician will have access to a Keurig on the trip, this could make things wildly easy for them.
ONLY Hydration
Are you in your thirties, and realizing you’ve suddenly taken an interest in being more hydrated? (Do our bodies just give up around then? I cannot retain water, it is my curse.) Staying hydrated is important no matter your age or your athletic ability, so finding ways to efficiently do so is key.
ONLY Hydrationis an electrolyte powder mix that centers ingredients you can pronounce, packed with nutrients like calcium, zinc, magnesium, and vitamins to protect your immune system.
These beverage powders come in really great, unique, natural fruit flavors. Enjoy them in Yuzu Citrus, Asian Pear, White Peach, or Lychee.
Steeped Coffee
If you don’t want to carry around a full coffee setup or rely on a K-cup on your bus or in the hotel, you may want to consider a steeped coffee option. These are a preferred option to concentrate or cold brew coffee, since refrigerated options have a shelf life. The single-serve bags are perfect to purchase because leftovers can be saved for camping trips, to take to the office, or cozy mornings at home curled up under a blanket.
As simple as tucking a teabag into your luggage, Steeped Coffee makes single-serve steeping bags of their delicious roasted coffee. They grind the coffee up and nitro seal it, serving it in an easy-to-tote bag that is so mindful of time and convenience. Just pour hot water over it, add whatever creamer you may need, and voila!
Steeped Coffee’s focus on environmental safety has, from the start, set them apart. Their fully compostable bags deliver ethically sourced, bold flavors every time.
