The first half of her set focused on “Star-Crossed” and its much-sunnier predecessor, 2018’s “Golden Hour,” which won four Grammy Awards, including album of the year, and landed at 270 on Rolling Stone’s 500 Greatest Albums of All Time list. The songs may have been serious, but she kept her own mood light, telling the crowd “I made a really depressing album, sorry about that … I think the next one might be happier, but tonight we can be sad together.” And while she seemed a bit off at points - opening night jitters, maybe? - Musgraves also let her winning personality shine through. Not to say it was all doom and gloom, as Musgraves’ nimble band injected real energy into the songs and found ways to amplify the hooks. She opened with the first three tracks from the new record and the lyrics from the title track made it clear what was to come: “Let me set the scene/Two lovers ripped right at the seams/They woke up from the perfect dream/And then the darkness came.” Oh, and she sang that song with a large metal heart of fire behind her.
Musgraves really leaned into the whole “Star-Crossed” theme, starting with playing songs from the “Romeo + Juliet” soundtrack over the loudspeakers before she took the stage. Paul’s Xcel Energy Center, and they gave the 33-year-old Texas native one of the warmest receptions I’ve seen at a concert in years. Who wants to go out on a bitterly cold Wednesday night to listen to a bunch of sad songs about divorce? More than 9,000 people did at St. And the tour is in support of her fifth album “Star-Crossed,” which takes a stark, brutally honest look at her 2020 divorce from fellow singer/songwriter Ruston Kelly.
#Starcrossed 1985 review movie#
It is a larger-than-life movie exploring grand-scale problems and complex human conflicts, and for this reason it will make its mark on each viewer differently.It seemed like an odd decision when country crossover star Kacey Musgraves announced she was kicking off her first arena tour in Minnesota, in the middle of January. Like all of Edward Yang’s movies, ‘Taipei Story’ takes time and reflection in order to be appreciated, and is bound to become beautiful and enjoyable after each rewatch. What can be felt in these stellar performances is also communicated in Yang’s directorial skills, and the pacing is slow, silent and contemplative as characters roam through Taipei’s alienating urban landscape.
This sense of uncertainty is palpable in the performances of Hou Hsiao-Hsien and Tsai Chin, who do a wonderful job at depicting Lung and Chin’s tremulous relationship. Singapore, Hong Kong, and South Korea also experienced rampant financial change around this time, but of the countries which comprise what is now known as the movement of the Four Asian Tigers, Taiwan developed at the quickest rate.įor many Taiwanese citizens, the feeling of living in 80s Taipei was one of disassociation with every day came a new surprise. Yang’s story makes the most sense when placed in its socio-political perspective: In the 1980s, Tawan was one of the most rapidly growing countries in the world as it quickly became an essential hub for the global manufacturing of electronic components and car parts. Both Chin and Lung are trying to build their young adult lives in the strange and alienating urban realm of 1980’s Taipei, and the story follows their respective journeys as they bump into fellow lost souls along the way. Chin is an undecided young woman trying to survive each day in a time of financial uncertainty. Lung is a washed out former member of a Little League baseball team who compromises himself by trying to help others at whatever cost necessary. Set in mid-80’s Taiwan, ‘Taipei Story’ tells the tale of childhood-sweetheart-turned-adult lovers Lung (in a rare acting performance from Hou Hsiao-Hsien) and Chin (played by Tsai Chin, a Taiwanese pop star and Edward Yang’s wife at the time) as they try to build a life for themselves. Taipei Story is screening at Taiwan Film Festival Edinburgh Yang’s sophomore feature film ‘ Taipei Story’ is no exception working alongside prolific director Hsiao-Hsien Hou, this depiction of young adults navigating a dreadfully uncertain new time is so universally relatable that even viewers in 2021 are bound to experience a palpable sense of melancholy throughout its two hour runtime. Throughout his all-too-brief filmography, the seven full-length titles he produced are arguably some of the most retrospective films to ever grace the world theater. Edward Yang began filmmaking while he was in his 30’s, and died of cancer at the young age of 59.
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