Daisy Jones & the Six: Everyone looks perpetually glamorous, but it’s a souless jingle

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The TV drama starring Elvis’s grandchild Riley Keough is at its best when laying bare the misogyny of the music industry

Daisy Jones & The Six

. This tale of a hairy, earnest and doomed 1970s rock band lands like an over-cranked pastiche of Cameron Crowe’s Almost Famous, with occasional detours into Oliver Stone’s maniacal Doors biopic. Daisy Jones is a poor little rich girl who dreams of being a blues singer and who, barely in her teens, sneaks into the Whiskey A-Go-Go on the Sunset Strip to see The Byrds play Goin’ Back. Meanwhile, in a down-at-heel suburb of Pittsburgh, Billy Dunne is a rangy songwriter with a knack for everyman balladry and a hefty chip on his shoulder.

What he doesn’t have is the ability to write pop hits. However, when a manager puts Jones together with The Dunnes – along with Suki Waterhouse as an exotic keyboard player from London – and renames the project Daisy Jones & The Six, pop history is made.Taylor Jenkins Reid interview: ‘Marriages are messy. Our lives are messy. Convenient truths don’t exist’Fake pop history, that is.

 

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