Sometimes you come across novels where everything feels real. Their world is your world. Their experiences are your experiences. The characters are so 4D and vivid and alive that you can’t possibly believe they aren’t real. That’s how I felt while reading Daisy Jones & The Six.
For anyone that knows me, you’ll know that I love rock and roll. I have dreams of being a rockstar, even though I can’t play any instruments or sing a note in key. It’s my secret fantasy to perform live to thousands of people. This book allowed me to live that for a few hundred pages. Focusing on fictional rock band The Six and the enigmatic groupie-turned-artist Daisy Jones and their whirlwind rise to fame, the narrative explores their lives as separate acts before fate (and their producer and record label) intervenes and brings them together to create one of the biggest bands in the world. It’s all sex, drugs, rock and roll.
The interview format is something I haven’t seen before, and has inspired me to switch up my writing style and try something in this format too. Splitting the narrative up in periods of time that the characters are then talking through – starting with The Groupie Daisy Jones 1965-1972 and finishing with the message the wife of one the main characters sends the author – it is set up as though interviews with the band, the manager and the producer (as well as several other secondary characters) have been spliced up and out together to see the full picture.
You feel their highs and their lows. You go through their addictions. You feel their pain and feel their love. Reading this made me feel like I was part of the band, like I was there for all of it. The characters are so real and so fleshed-out, I forgot they weren’t people and that this wasn’t a real band. You know it’s good writing when you believe every single word.
The story is incredibly compelling and easy to understand. It captures the eclectic, romantic vibe of the ‘70s rock and roll world and a time when anything was possible. It is intoxicating. It is riveting.