Staying true to its commitment to traditional craftsmanship, The Folio Society collaborates with British printers and craftspeople to ensure the preservation and flourishing of age-old book-making techniques. What sets this publisher apart is its unique support for a broad spectrum of artists, having commissioned the talents of 32 illustrators in 2023 alone.

Among the notable nominations, The Folio Society’s limited edition of ‘The Tale of Peter Rabbit,’ featuring a foreword by Oscar-winner Emma Thompson, is shortlisted for Best British Book, while the limited edition of T. S. Eliot’s epic poem ‘The Waste Land,’ adorned with illustrations by Tom Phillips RA, is in the running in the Fine Binding & Limited Edition category.

A dominant presence in the Literature category, four out of five titles shortlisted belong to The Folio Society, including works like Wu Ch’eng-en’s ‘Monkey’ (illustrated by Mu Pan), Haruki Murakami’s ‘Norwegian Wood’ (illustrated by Daniel Liévano) which EF has reviewed, Michael Ende’s ‘The Neverending Story’ (selected as the 75th-anniversary title in 2022), and Zora Neale Hurston’s ‘Their Eyes Were Watching God’ (introduced by Zadie Smith).

In the Scholarly, Academic and Reference Book category, The Folio Society’s editions of Simon Sebag Montefiore’s two-part history tome ‘Stalin: The Court of the Red Tsar’ and Carlo Rovelli’s popular science classic ‘The Order of Time’, introduced by Philip Pullman, are shortlisted.

The Folio Society continues its impressive showing with two out of four titles shortlisted for Best Jacket/Cover Design, including ‘Jaws’ by Peter Benchley (illustrated by Hokyoung Kim) and ‘Trainspotting’ by Irvine Welsh, (illustrated by Nicole Rifkin), which EF has reviewed.

Production Director, Kate Grimwade, says: “The team at Folio are delighted to be nominated once again for the prestigious British Book Design and Production Awards. To have ten titles nominated across five categories is a huge achievement and a recognition of Folio’s passion for the highest standards of book design and production.”

The Folio Society, having enjoyed success at the 2022 British Book Design and Production Awards, winning in all four nominated categories, aims to continue its streak of excellence. The 2023 awards ceremony will take place on Wednesday, 24th January 2024, at the De Vere Grand Connaught Rooms in London.

This London-based publisher, renowned for its beautifully produced, illustrated hardback books, offers these exquisite editions exclusively through their website, foliosociety.com. With 50 titles published last year, including nine limited editions, The Folio Society has proven its commitment to exceptional publishing, thoughtful art direction, and production innovation.

The British Book Design and Production Awards serve as a platform to highlight the outstanding quality of the British book design and production industry. The winners will be unveiled at the awards ceremony on January 24th 2024, in London.

From a single purchase to a lifetime of collecting, book lovers around the world can buy these exquisite editions exclusively from their website, foliosociety.com. Proudly independent for its 75-year history, in 2021 under the leadership of its CEO, Joanna Reynolds, The Folio Society became an Employee Ownership Trust. The Folio Society is committed to a progressive sharing of power and profit in publishing, and this is reflected in their new status.

The Folio Society publishes some of the best names in publishing past and present, across the globe in high specification, collector editions. Notable publications include Frank Herbert’s ‘Dune’, Margaret Atwood’s ‘The Handmaid’s Tale’, Andrew Chaikin’s ‘A Man on the Moon’ and Alice Walker’s ‘The Color Purple’ among many other contemporary and classic titles including a publishing partnership with Marvel delivering the world-recognised, iconic brand’s luxury editions.

For more information and to explore their extensive catalogue, visit foliosociety.com.

Follow the Folio Society story on:
Instagram: @foliosociety
Twitter: @foliosociety
Facebook: @thefoliosociety
TikTok: @foliosociety
YouTube: @TheFolioSociety
LinkedIn: The Folio Society Ltd
Hashtag: #foliosociety

The post The Folio Society secures 10 Nominations in multiple categories for the 2023 British Book Design and Production Awards appeared first on Entertainment Focus.

The author gives details to his background that help readers to understand his personality. We learn what it takes to thrive in the army, to see and survive conflict and to recover from the immense physical and psychological trauma of warfare. Having put military life behind him, Pinner was motivated to volunteer his services with the Ukrainian Army due to his wife’s Ukrainian nationality. But as he admits, he had also struggled to find career satisfaction outside of the camaraderie and excitement of army life. Repeatedly throughout the book he emphasises that during life-threatening situations he didn’t feel fear. It’s hard for the civilian reader to understand this, but easy to take him at his word throughout an authentic account that needs no exaggeration for dramatic effect. Put simply: men like Pinner are a breed apart. By helping in the fight to liberate Ukraine, we can only be thankful that there are soldiers with both conviction and the courage to act on their principles.

If you’re looking for an insight into what it’s like to be at the heart of modern warfare, then ‘Live, Fight, Survive’ is a compelling first-hand account. There isn’t much that Pinner doesn’t experience. He describes the friendships he forged with Ukrainians and how he doesn’t have time to grieve for one young man whose death in conflict he learns of at a crucial moment. Having explained how essential it is for a British national, likely to be considered a mercenary, to avoid being caught, he is nevertheless captured by Russian soldiers during the siege of Mariupol.

The bulk of the book is taken up with the aftermath of Pinner’s incarceration inside an unnamed black site in occupied Ukrainian territory. There are many efforts on the part of the Russian military to destroy his morale. He is driven through local towns that he knew in peacetime that have been reduced to rubble. There is also the constant threat of torture and illnesses such as dysentery that come with malnourishment and ill-treatment. There is the mundanity of a life in confinement that could drive any person crazy too. In describing how to pass time and try to keep spirits up during months of imprisonment in brutal conditions, the book is like a modern day version of Solzhenitsyn’s ‘One Day in the Life of Ivan Denisovich.’ One difference is that now, captured soldiers’ phones are confiscated and their photographs and social media accounts scoured to find ways to compromise them. The author paints a vivid picture of some of his tormentors, including ‘Mr Balaclava’, who comes across like a Bond villain’s henchman.

The final part of the book gives an account of the part of the story that gained considerable media attention and brought Shaun Pinner’s name to international prominence. He stands trial in a Donetsk People’s Republic courtroom, accused of many things including treason. He knows full well that the kangaroo court is interested in finding him guilty, where the likely punishment would be execution. It is a stunning example of how, in warfare, the battlefield isn’t the only place where you can find yourself in mortal danger.

‘Live, Fight, Survive’ is a detailed insight into modern warfare and an eyewitness account of the impact of the Russian invasion of Ukraine. It will appeal especially to any reader who has a keen interest in current affairs and military operations. Necessarily, it is a male-dominated story and one with some choice language: two factors which may limit the book’s target audience. As a piece of writing, it is fascinating, and Pinner’s strength is in sketching out his emotional reactions to events, as well as giving readers a good idea of the characters of the men he was serving with or imprisoned alongside. It is fair-minded too. There is no attempt to demonise ordinary Russian soldiers. Pinner reserves his ire for those in authority.

In capturing a broad chronological sweep of his experiences, ‘Live, Fight, Survive’ does become repetitive at times, especially once Pinner has been captured and is moved between prisons, each time establishing a new and frustratingly limited routine. However, the final chapters are the strongest and most eventful in the book, and they come with a rewarding emotional pay-off. Readers will have these passages fresh in their minds as they reach the final page.

The audiobook version is narrated by Shaun Pinner himself. His no-nonsense and clear tone of voice is authentically militaristic, and therefore the ideal choice to convey the story. An actor would probably have made the prose too flowery. The downside is that there are fewer nuances in his vocal delivery than is common for audiobook readers. Nevertheless, the dramatic events of each chapter ensured that our attention held throughout ‘Live, Fight, Survive’.

Publisher: Penguin Random House UK audio Narrator: Shaun Pinner Publication date: 28th September 2023 Buy ‘Live, Fight, Survive’

The post Shaun Pinner – ‘Live, Fight, Survive’ audiobook review appeared first on Entertainment Focus.

We were thrilled to catch up with him recently and talk all about the album and more.

Lovely to speak to you again, Dustin, thank you for giving up your time today. Congratulations on ‘Killed the Cowboy’

Thank you very much for your kind words. I’m always looking to get better and better and it’s good to hear that we hit the mark for you.

Before we get into the album, let’s dig into a couple of things, if that’s ok? You had such a big hit with ‘Thinking ‘Bout You’ in 2022. Do you ever feel the pressure to achieve that again or do you celebrate it for the unicorn that it was?

I’m very grateful when hits like that happen and you certainly can’t plan for them. There is a pressure, for sure, and a feeling that the next single has to compete with. We’re still seeing, out on tour, a real excitement for that song and so I’m still enjoying the glow and success of it and all I can hope is that we get another one at some point.

You’re having a lot of top 10 success with ‘Stars Like Confetti’ right now. It’s quite unique promoting a song from an ‘old’ album just as you release your new one!

It is. We couldn’t ask for better timing in terms of the success of that song and us going out on the ‘Killed the Cowboy’ tour. It’s a blessing. When you put out music you never know what’s going to happen: certain songs take off right away and others take a little time and you’re waiting around some before it hits. ‘Stars….’ is a big moment in our live show so it’s great to see it take off on the radio too.

It allows us to bounce straight into this next chapter of music right on the heels of ‘Stars Like Confetti.’ I’m not sure what we will follow it with, that’s the beauty of having this little window of time in terms of allowing ‘Stars…’ to let us see which songs from ‘Killed the Cowboy’ are resonating with people the most.

I spoke to both Justin Moore and Chase Rice this year and artists like those guys are your contemporaries, the guys you came up with. They have both released great albums this year and Moore, like yourself, continues to have consistent number ones rather than being someone who exploded on the scene and then faded. Do you see yourself in that same way?

That consistency has, obviously, been a goal. I’ve always wanted to build on that early success and we’ve seen our crowds grow since day 1 for sure. The rooms continue to grow and we’ve toured with the genre’s best too so I’ve been able to take what I’ve learned from those artists and put it into our tours. With the ‘Party Mode’ tour this past year I think we’ve found our sweet spot – the right mix of songs, the show and making it very interactive for the crowds too.

Country music has lurched a little bit back toward towards what it sounded like when you released your early albums in terms the grittier, more guitar-focused sound under the guidance of artists like Stapleton, Luke Combs and Lainey Wilson. Does that suit you more as an artist?

I think the genre has moved back a little towards sounding like it did when I first started, yes. As far as the fan base goes, we’re as wide open as we’ve ever been. We have a lot of fans from different places and spaces who are exploring the genre and finding other artists that they love. We’ve integrated a little Rock music into our live shows and that seems to have brought in some new people which means we’ve had the best year of touring in a long, long time.

The initial press for the ‘Killed the Cowboy’ album found you in a very reflective and honest place with regards to your personal life. What goals did you have in setting out to make this album?

I’m just trying to figure out where I am in life right now and paying attention to the conversation that I am having with myself. This ongoing battle of wanting to be a better musician and wanting to be a better person too. It left me thinking that if I didn’t have it all figured out in my personal life, what’s wrong with me, right?

It’s been an open process and what I’ve found out is that there are a lot of people out there just like me! I’m happy with my career and I’m confirmable with writing songs and who I want to be as an artist and the success we’ve had in that side of things but there remains that question mark in my mind as to why I’m still single. Is it ok to still be single after this long? There’s pressure from friends, family and even the industry that play into those doubts and questions and this new album was just me realising those things and being willing to talk about it.

My favourite songs of yours are the ones that bring drama. So, songs like ‘Helluva Night,’ ‘To the Sky’ and ‘Seein’ Red.’ The title track has that classic ‘Dustin Lynch’ drama to it – is that what drew you to it when you first heard the song?

It definitely did. I loved the title. It was from a group of writers that I trust and I love to work with. They wrote the song with me in mind as I wasn’t it town and then they sent it my way. I knew that I wanted a big, passionate moment for the show that wasn’t so much ‘horns-up rocking’ but it would hit hard and heavy in the live set and ‘Killed the Cowboy’ captured that and is a great way to encompass the songs on this project and a way to tie everything together.

I can see the visuals for the tour – there is just so much we can do with this song and concept.

‘Blue Lights’ is another big, dramatic, classic Dustin Lynch song too. I think Jameson Rodgers might have made a mistake by giving you that song!

(laughing) I’ve made him aware of that! It’s one of my favourite songs that he has ever written. He and I write a lot together but that’s another one of those songs that came in early on in the process that I knew I wanted to record. It’s quite a unique song in both the take and and the phrasing of it. Jamo is one of the best writers in town and his singing on the demo of that song gave me a framework from which to launch off from.

Talking of collaborators. Hunter Phelps has six co-writes on this album. What is it about him and his writing that you identify with so much?

He and I are, essentially, the same guy! (laughing) We’re the same dude. We like the same things, we eat the same things and we drink the same things! He’s lucked out, found a girl and had a baby but other than that, we are the same person. He’s going to be a ‘Hall of Fame’ songwriter and I want to continue to work with him for as long as I can. I’ve been lucky that I became friends with him and worked with him before it really took off.

‘Honky Tonk Heartbreaker’ puts a massive smile on my face every time I hear it. It’s a slightly different sound for you, a little bit lighter, a little 90s around the edges. Has it made it into your live set yet because it must be a fun track to play?

You nailed it! I think the same. That was a song that emerged in a unique way. It was right in the middle of deer hunting season and Hunter and I were due to write. I called him and was, like, ‘Dude, why are we writing today?’ (laughing) It was the prettiest day and I just wanted to be out in nature, you know? But that there is the reason why we do what we do and we chase the songs! The day when we could have easily taken a pass and not put in the hard yards, ‘Honky Tonk Heartbreaker’ comes out of it and it’s ended up being one of my favourite songs on the album.

There’s a lower Broadway, Nashville feel to it and the early days of my playing the honky tonks down there. Hunter got started down there too. I was playing Legends Corner and he was up at Tootsie’s so we were on different teams at that point but that song reminds us both of what it was like when we first started.

We haven’t played it yet because I’ve been waiting for the album to come out but we have been playing it in soundcheck, so we are dialled in and ready to go with it right now and I can’t wait!

The other song that really intrigues me from this project is ‘Long Way Home’, which has another, slightly different sound, for you and you use it to close down the album too.

I wanted to finish the album in a strong way and on a very positive note. It’s quite a Country-leaning song, which I love. It came out of the first batch of songs that we recorded for the project and it kinda came down to a tie-break between some songs that I couldn’t decide which to move forward with so I sent them out to a bunch of people I trust and asked them for their feedback. ‘Long Way Home’ got the majority of the votes and I think it made sense to finish the album with it.

The first time I heard ‘Chevrolet’ I was blown away by just what a clever idea it was to rework the iconic chorus of ‘Drift Away’. Tell me about the first time you heard that song.

I was taken aback, just like you! Then my second reaction was ‘And how did this get clearance with the original writers of ‘Drift Away’?’ (laughing) Did everybody involved in the original version OK this because if they did…………it’s mine! The original writers and publishers had heard it and they were really excited by it too.

There’s great songs on every album and then there are great moments and I think ‘Chevrolet’ is both for me and my career. Then the whole thing was heightened by getting a ‘yes’ from Jelly Roll on him appearing on it as well. Jelly was rocking it at the time we were recording the song but his rocket ship hadn’t quite taken off yet in the way that it has now. So, it’s absolute great timing to have him on this song with me now. We’ve spent time with each other before and we’ve partied hard together and now ‘Chevrolet’ gives us another reason to hang out!

We last saw you over here in 2019 at the C2C festival and you rocked that arena! People are still talking about your set even four years later. Is there a chance we might see you over in Europe again in this next phase of your career?

Without a doubt! We had such a great time over there and I was blown away, top to bottom, by the fan support. I didn’t get to hang out with you guys as much as I would have liked last time so I’d love to come back and get some hang time and soak up some culture. I’d like to make a big, long trip out of it and see all the things there is to see.

We planned to come back but tours have to line up way in advance and then the pandemic hit which meant we had previous obligations and shows to fulfil that were cancelled or delayed over those two years. Coming back is on our list and is an active target and bullseye that we keep trying to aim for. The stars will align one day.

You got your pilots license fairly recently. I listen to the Bobby Bones show each day and it’s so sweet how worried he is about you being up in the air. Your Instagram is also full of golf videos again too. So, are you a better pilot or golfer?

(laughing) I couldn’t believe how worried he was either! I’m a better pilot right now, for sure, although I have been practising my golf recently. I enjoy both. One of my favourite goals to achieve is to fly a small, five seater plane down to Florida with my golf bags in the back and play a round of golf and then come back in time for dinner. What a great day that would be! Maybe I could throw my fly rod in the back too?

It’s these little one day adventures that I’d love to do more of. That’s a type of freedom I haven’t had in the past but I can achieve now that I have a pilot’s license.

Check out Dustin Lynch’s ‘Killed the Cowboy’ album – which is out right now.

The post Interview: Dustin Lynch talks inspirations & ideas behind new album ‘Killed the Cowboy’ appeared first on Entertainment Focus.

However, as the boy band went their separate ways, Chasez decided to step out of the shadows of his former band and embark on a solo career. The result was his debut solo album, ‘Schizophrenic’, a project that showcased his evolution as an artist and his willingness to take creative risks.

With *NSYNC back together and in celebration of the release of their new single ‘Better Place’, we’re taking a look back at Chasez’s under-rated debut solo album.

Creative Freedom: A Departure from NSYNC

For Chasez, the transition from *NSYNC to a solo career was a significant shift in his artistic journey. As a member of *NSYNC, he shared lead vocals with Justin Timberlake and he participated in the collaborative process of creating music. However, with ‘Schizophrenic’, Chasez was granted the artistic freedom to fully explore his individuality and who he is as an artist in his own right.

This newfound creative freedom allowed him to experiment with various musical styles and genres, something he was never able to do within the confines of a boy band. Chasez was determined to break free from the restraints of life within the group and create an album that reflected his own unique vision.

Diverse Musical Influences: Crafting a Unique Sound

‘Schizophrenic’ was a musical journey that defied easy categorisation. Rather than sticking to a single genre, Chasez embraced a diverse range of musical influences, creating a sound that was truly his own. Elements of pop, R&B, funk, rock, and electronic dance music converged to form a rich and eclectic sonic landscape.

The album’s title, ‘Schizophrenic’, reflected this diversity and hinted at the multiple musical personalities showcased within. It was a deliberate choice, signalling Chasez’s intent to challenge expectations and offer listeners a varied and engaging musical experience.

Collaborations with Renowned Producers and Songwriters

To help bring his ambitious vision to life, Chasez enlisted the expertise of accomplished producers and songwriters. Collaborations with the likes of Dallas Austin, Basement Jaxx, and BT injected the album with freshness and innovation. These super-producers helped shape the album’s eclectic sound, contributing their unique perspectives to the project.

The collaborations didn’t just add musical depth but also brought out Chasez’s versatility as an artist. Working with different creative minds allowed him to explore various musical facets, ensuring that each track on ‘Schizophrenic’ had its distinct flavour.

Lyricism and Personal Themes: Delving Deeper

While ‘Schizophrenic’ showcased Chasez’s musical versatility, it also delved into personal and introspective themes. The album dug deep into Chasez’s inner thoughts and emotions for a collection of personal songs. Songs like ‘All Day Long I Dream About Sex’ and ‘Build My World’ demonstrated his lyrical abilities and his willingness to address more mature subject matter.

These tracks, in particular, resonated with audiences as they offered a glimpse into Chasez’s personal journey and experiences. The willingness to open up and be vulnerable in his lyrics added depth and authenticity to the album.

Chart and Sales Performance: The Commercial Reception

Upon its release in February 2004, ‘Schizophrenic’ made its debut on the Billboard 200 chart at number 17. While it fell short of expectations and failed to match the huge success Timberlake was enjoying as a solo artist, it garnered attention for its innovative sound and strong promotion.

The singles from the album – ‘Some Girls (Dance with Women)’, ‘All Day Long I Dream About Sex’ and ‘Build My World’ showcased the album’s diverse range and contributed to its commercial appeal, but sadly they didn’t make much of an impact on the Billboard Hot 100.

In terms of sales, ‘Schizophrenic’ achieved Gold certification by the RIAA, signifying the sale of over 500,000 copies in the United States. While it didn’t achieve multi-platinum status, the album found a dedicated fan base and garnered attention for its innovative sound.

Legacy and Artistic Growth: “Schizophrenic” Beyond the Charts

‘Schizophrenic’ may not have achieved the commercial success of some of his *NSYNC contemporaries’ solo endeavours, but it remains a significant milestone in Chasez’s artistic journey. The album demonstrated his willingness to take risks, experiment with music, and explore personal themes. It stands as a testament to Chasez’s creative ambition and musical versatility, and it a favourite among fans.

The post Looking back at *NSYNC star JC Chasez’s debut solo album ‘Schizophrenic’ appeared first on Entertainment Focus.

The TV presenter, actor and comedian and his professional partner Nancy Xu found themselves sitting at the bottom of the leaderboard after two weeks, scoring a total of 31 points for their Tango and Samba. In the dance-off, they faced BBC Asian Network radio presenter Nikita Kanda and her professional partner Gorka Marquez.

In a bid to win over the judges and remain in the competition, Les and Nancy performed their Samba to ‘Rock The Boat’ by The Hues Corporation, whilst Nikita and Gorka danced their Charleston to ‘Single Ladies (Put A Ring On It)’ by Beyoncé.

After both couples had danced again, host Tess Daly asked the judges who they wanted to stay in the competition. Craig Revel Horwood, Motsi Mabuse and Anton Du Beke all chose Nikita and Gorka, meaning they made it through to Movie Week on Saturday night.

Head judge Shirley Ballas was not required to vote, but said she would also have saved Nikita and Gorka.

When asked by Tess about his time on the show, Les said: “I’ve had the best time, this lady has been amazing, a great teacher, she’s really put me through my paces.” He added to Nancy, “I did as well as I could for you, I hope! That lot up there, I’m going to miss you so much. I really appreciate and understand the judge’s point of view, thank you so much [to head judge Shirley] for giving me a 10 for entertainment. I hope I’ve entertained, that’s what I came here for. Strictly is the best and the people who put this on, you’re just all amazing!”

Nancy was then asked by Tess how it had it been teaching in the training room with her partner Les. She said: “It’s been a journey. This is such a short but a sweet journey. A lot of challenges we all know, but to see you [Les] every day improve yourself. I respect you so, so much. I just want to say thank you to the judges and all my fellow friends. Thank you Strictly Come Dancing for all of your support. Thank you Les.”

This evening’s results show also featured a fabulous routine from Strictly’s troupe of professional dancers to a medley in tribute to the iconic Tina Turner. Singer-songwriter Jorja Smith also made an appearance, performing her song ‘Try Me’.

Les and Nancy will be joining Fleur East and Janette Manrara for their first exclusive televised interview live on Strictly: It Takes Two on Monday 2^nd October at 6.30pm on BBC Two and BBC iPlayer.

The remaining 14 couples will return to the dancefloor next week for the first themed show of the series – it’s time for Movie Week!

Strictly Come Dancing 2023 will return for Movie Week on Saturday 7th October at 6.20 PM on BBC One and BBC iPlayer, with the Results Show on Sunday 8th October at 7.15 PM.

The post Les Dennis is first celebrity to leave Strictly Come Dancing 2023 appeared first on Entertainment Focus.

If you want to avoid all spoilers, stop reading this article now.

‘For Life’ (incidentally, nothing to do with the US legal series of the same name from 2020) stars Tone Beate Mostraum as Victoria Woll, a Norwegian police detective. The action takes place over two time periods. We first see her in 2040 – aged 60 – where she’s speaking with an adversary in the interview room of a prison. We revisit that scene at the end of the episode, but the majority of action takes place in the current day.

Woll alongside her sidekick, Ayla (Iselin Shumba Skjævesland), are summoned to a snowy forest where the body of a young mother has been found and her daughter has gone missing. The daughter is quickly found, and when the body of the woman’s ex-husband is also discovered – seemingly with a suicide note taking responsibility for her murder – it would appear an open-and-shut case. But Woll suspects otherwise and is suspicious about changes the woman made to her appearance and lifestyle in recent years and months.

Sure enough, the victim – a former teacher now turned PA – had a number of secrets that she’d kept from her friends and family which reveal some very different side to the seemingly innocuous image she portrayed.

Mostraum is excellent in the lead role, and it’s an entertaining show. The plotline in this opening episode is a bit shaky, but it’s a pleasant enough way to while away the time. The issue I have with this, and a number of similar shows, is the stereotypical nature of the characters. Woll is the cliched feisty female cop in a male-dominated force. Her male bosses are all idiots who can’t see the patently obvious holes in their case that she’s noticed. Woll also has a typical dodgy private life – a relationship with a journalist – which sometimes impinges on her work situations. With the exception of Woll, most of the characters follow an all too predictable formula and lack any real sense of depth. But perhaps I’m being harsh – after all, with such short episodes, it’s probably virtually impossible to get any real complexity to their personalities.

What I did enjoy – and what sets this show apart from the norm – was the reveal at the end of the opening episode. I certainly didn’t see that coming, so hats off to the writers for that particular twist. You will have to watch it to see what I’m talking about!

If you enjoy strong female-led police procedurals, give this a go.

Walter Presents: ‘For Life’ is available as a full boxset now on Walter Presents via C4 Streaming.

The post Walter Presents: ‘For Life’ preview – a strong female-led police procedural appeared first on Entertainment Focus.

Last night our 15 couples were back on the ballroom floor for round two, and this week is where things really start to heat up, with one of them hanging up their dance shoes for good after tonight’s results show.

Presenters Tess Daly and Claudia Winkleman were on hand to keep things running smoothly and soothe the contestants’ nerves, whilst judges Craig Revel Horwood, Motsi Mabuse, Anton Du Beke and head judge Shirley Ballas shared their views on every foxtrot and fleckerl.

It was another standout week with some great dance, but who were our favourites? In no particular order, here’s our top five routines from last night’s show:

1: Ellie Leach and Vito Coppola – Foxtrot to ‘Perfect’ by Fairground Attraction

Ellie impressed with her Jive last week and tonight we got the chance to see what she can do in Ballroom. In a gorgeous ice cream-striped dress, she showed off her acting chops throughout this routine and filled it with humour and fun, as well as having some lovely lines in her arms, nice footwork, great flow across the floor and good control in her spins. There was no gapping to be seen and I thought the storytelling was brilliant throughout. She’s definitely a contender and I cannot WAIT for her American Smooth after this!

2: Nigel Harman and Katya Jones – Viennese Waltz to ‘Until I Found You’ by Stephen Sanchez

It may not have hit the heights of last week’s Paso score-wise, but I adored this routine from Nigel and Katya. For me it felt so gorgeous and romantic, really showcasing his acting skills and there was a tenderness about it I really liked, as well as a very strong emotional connection between the two of them. The storytelling really drew me in and I thought they flowed beautifully across the floor as well. Yes his footwork needed a little refinement, but overall it was another standout performance and should see them safely through to next week.

3: Angela Scanlon and Carlos Gu – Jive to ‘Trouble’ by Shampoo

After a strong start with her Tango last week, tonight Angela got to show us her sassy side with this playful, content-packed Jive. I loved her energy levels and stamina throughout, as well as her sharp kicks and flicks (extra marks for pointing her toes), and her spring and drive through the floor as well. The drunken sailor move and armography were also standouts for me, and it was a huge improvement on her performance last week. She absolutely smashed it – literally with the camera effect at the end! – and I can’t wait to see where she goes next week.

4: Angela Rippon and Kai Widdrington – Foxtrot to ‘You Make Me Feel So Young’ by Frank Sinatra

Angela dazzled us all with her Cha-Cha last week (I’m still thinking about *that* leg extension!) so I couldn’t wait to see what she’d do with a classic Ballroom routine, and she delivered in spades. Channelling Dior’s New Look on a flower-filled set, she made the simple, charming routine look absolutely effortless, with some gorgeous heel leads, nice rise and fall, great frame and the most beautiful smile throughout. It was a classy and sophisticated dream of a performance and the partnership between her and Kai is just so sweet to watch – I actually found myself shedding a tear at the end!

5: Layton Williams and Nikita Kuzmin – Quickstep to ‘Puttin’ On The Ritz’ by Gregory Porter

Closing the show were Layton and Nikita with a cool, slick Quickstep that featured incredible pace across the dancefloor, some seriously impressive leaps and outstanding precision. I could really tell Layton took on board last week’s feedback from the judges as his footwork has improved considerably, particularly in the opening section where his feet were practically a blur throughout, and also thought he had some really nice shapes in his arms. The performance quality was absolutely through the roof again and I loved his energy too, as well as that very impressive high kick! For me it was the dance of the series so far and I cannot wait for him to see him back on the ballroom floor again.

Tonight’s leaderboard was:

Layton and Nikita – 36 (9, 9, 9, 9)
Amanda and Giovanni – 32 (8, 8, 8, 8)
Ellie and Vito – 31 (8, 8, 7, 8)
Angela and Kai – 31 (8, 8, 7, 8)
Bobby and Dianne – 29 (7, 7, 7, 8)
Angela and Carlos – 29 (7, 7, 7,8)
Nigel and Katya – 27 (7, 7, 6, 7)
Adam and Luba – 23 (5, 6, 5, 7)
Zara and Graziano – 23 (6, 6, 5, 6)
Annabel and Johannes – 22 (4, 6, 6, 6)
Eddie and Karen – 21 (3, 6, 5, 7)
Krishnan and Lauren – 20 (4, 5, 5, 6)
Nikita and Gorka – 18 (3, 5, 5, 5)
Jody and Jowita – 16 (3, 4, 4, 5)
Les and Nancy – 15 (2, 4, 4, 5)

When added to last week’s score, the total leaderboard for the first two shows was:

Layton and Nikita – 29 + 36 = 65
Amanda and Giovanni – 29 + 32 = 61
Ellie and Vito – 29 + 31 = 60
Nigel and Katya – 32 + 27 = 59
Angela and Kai – 28 + 31 = 59
Bobby and Dianne – 29 + 29 = 58
Angela and Carlos – 23 + 29 = 52
Annabel and Johannes – 28 + 22 = 50
Eddie and Karen – 22 + 21 = 43
Adam and Luba – 19 + 23 = 42
Krishnan and Lauren – 22 + 20 = 42
Zara and Graziano – 19 + 23 = 42
Jody and Jowita – 21 +16 = 37
Nikita and Gorka – 18 + 18 = 36
Les and Nancy – 16 + 15 = 31

So who do we think will miss out on Movie Week? Personally I’m nervous for Nikita and Jody – but we’ll find out tonight…

Strictly Come Dancing: The Results will be broadcast at 7.15 PM tonight (Sunday 1 October) on BBC One and BBC iPlayer.

The post Strictly Come Dancing 2023 week 2 top 5 dances appeared first on Entertainment Focus.

However, now he’s carving his own musical path as a solo artist, releasing his debut album, ‘Sunshine State Of Mind’, back in 2021. He signed with Big Machine Records last year and is now working on a brand new project, including current US radio single ‘See You Next Summer’ (the acoustic version of which is out today) and ‘Dirt Cheap’ which he recently released to streaming platforms.

Whilst he was over in the UK this week to play at the Jags Country festival at Wembley Arena, I caught up with Brian to talk about his trip across the pond, his memories of playing at C2C back in 2015, his new music and what he’s got planned for next year.

Welcome back to the UK!

Thank you for having me. It’s really good to be back.

How have you found it so far? I know it’s a bit of a flying visit…

No, I love it. Brittney and I, my wife, we’ve had one of the best meals we’ve ever had last night. It was at Sparrow. Unbelievable, unbelievable. Yeah, we just love it here. The architecture, the people, just the energy of this place is special. It’s historic, and there’s pretty good shopping, you know? Hopefully going to add to my suitcase before we leave here.

But obviously the fans are great. When we circled through here in 2015 with FGL, it was just a great time, to see and hear and watch fans live our songs out with us. And I’m just excited to see the reaction to my solo stuff and to be here to represent myself and my family is extra special. I’m just so grateful to be included on such a special weekend, NFL here in the UK. I mean, that’s wild. It’s so big, such a big idea, a big moment. So I’m happy to be here.

You’ve mentioned coming over here for C2C back in 2015. Have you got any particular standout memories or highlights from that trip?

Yeah. I mean, you kind of hit five locations pretty quick. And here, London, we were here the longest, I wanna say two or three days. But it was awesome just to see people singing and shout back our songs, and just see new places, different landscapes, different cities, different types of people. It’s beautiful. It’s like… I want my eyeballs to see as much as I can, and it’s just really fun.

So I remember we went to Nobu, me and Brittney on a little date night. That was a blast [laughs]. That was a dang good time. But no, the people make the place. That’s what it’s all about. And so you just never forget the way that people look at you and the way that people talk to you and how they sound when they’re singing. Those feelings are forever.

You’ve been over in the UK this week to play at the Jags Country festival. For people who haven’t seen you live before, what is a typical Brian Kelley show like – if there is such a thing?

You know it’s honestly ever evolving. And I think that’s due to the music and due to continuing to push myself with songs, songwriting, vocally. Trying to create moments with each new song that’s added to the set. I wanna say that I try to bring a lot of energy and a lot of fun. Depending on the songs – I’m not gonna sing ‘Boat Names’ and run around on stage. But I wanna be intentional with every song and create great moments with every song. So there’s gonna be high energy, and there’s gonna be great energy that I hope you feel. Maybe it’s a slower song, but I hope you feel it through my voice and my inflections, and the way I carry myself on stage.

We’ve worked really hard on where we’re at in my career, kind of starting over in a sense, to build a light show that’s maybe above where I’m at. So visually, sonically – the band kicks ass, I’m so proud of my guys, they’re all working really hard. And yeah, we’ve got some cryo, that smoke that comes up, we’ve got that on a couple of songs. Really fired up about that. So a little bit of everything. And looking forward to at some point when the show gets bigger to having some screens on there, some video, stuff like that. I’m not there yet. But really proud of my team and what we’ve built so far. I’m excited.

We’re trying out new songs in the set that are unreleased. I think that’s a big deal. That’s notable. I love my solo outlet. One reason is sometimes I like getting a little wild hair. And it’s the freedom of having written a song that day and then trying it out that night, is kind of like a drug in a sense. It’s a little wild, and I think fans love that. And I want fans to know when they come to a show it’s maybe never really gonna be the same exact show. And I think that’s what’s gonna keep the fans around, what’s gonna keep me interested in the show, and continue to challenge myself, push myself, and make myself a little uncomfortable. Whether that’s having to learn a new song immediately, and… dang I don’t know, but wanting to try. That’s a long winded answer but I’m excited about it [laughs].

Are there any songs you’re particularly enjoying playing live at the moment?

Yeah. There’s a song called ‘How We’re Livin” that’s just a good old fashioned banger of a song. It’s a party song, it’s a lifestyle anthem. Not comparing myself vocally or career wise to Hank [Williams] Junior, but something maybe Hank would’ve sang. So that’s kind of that song. I love that. That’s been really fun to play and it’s really fun to see people’s reaction to that one.

I wanted to ask you about ‘Dirt Cheap’ which you’ve just put out on streaming services. Can you tell us a bit more about that?

Yeah, my label sent me that song, and I heard it, November last year. It was on a link of maybe 10 or 12 songs they’d put together. And they had asked, “hey, are you open to songs you didn’t write?” and I said, “yeah, absolutely”. ‘Sunshine State Of Mind’ I co-wrote every song on. That was a goal of mine and that was written in a time when life was shut down. Covid was running wild and it was just a weird time, and music was my medicine. It was therapy for me to make that record. I’m so proud of it. But fast forward to current day, couple of years later, so many things have changed since I made that record.

And so I wanted to approach what I believe I’m making as my true debut record with a different mindset. You know, just free myself from having to be so controlled of “I have to write everything”. I did that. That was a goal of mine, cool, done. Alright, now I’m gonna build a true solo career, let me get the best songwriters I can find, let me write the best songs I can. There’s a pile of those on there too.

But I love supporting the songwriting community in Nashville, and I love great songs. I’m a song hunter. Whether I wrote ’em or not, I love songs that you just can’t help but sing. And sometimes you’re the voice and the writer and sometimes you’re just the voice. And to me, kind of removing myself from having that to matter so much is a great feeling. And I’m kind of following a little bit of the business plan or the path of some of my idols, and I’m cool with that. It doesn’t matter. Take the ego out of that process, and I believe I’m gonna wind up with better songs.

And this was kind of asked earlier – I want my fans to know, whether I wrote it or not, I believe if you look at my album, the one that I’m making, it’s like, if you don’t look at the liner notes you’re gonna think I wrote everything. Because every song I’m singing, everything matters to me. And every song has me in it. I’m not just gonna record a song because I think it’s a hit. I’m just not gonna do that. I’m looking for hits but it’s gotta be Brian Kelley. Just on a deeper level, it’s gotta be a soul song. It’s gotta mean something to me, it’s gotta resonate. And in essence, I think that’s what leads to it resonating with a lot of people. That’s the goal.

The other song I wanted to ask about was ‘See You Next Summer’ which is your current radio single. Did you know that song was going to be special when you first cut it or has it surprised you how well it’s done?

That one, that was a little different. I knew I loved it when I heard it. I didn’t know if we were gonna record it in the first batch of two songs that we first cut. It wasn’t until we were at Luke Bryan’s little festival in Cancun, Mexico, Crash My Playa – we were having some margaritas by the pool, we were talking songs, me and my manager and Brittney and some of the bandmates. We were like, “‘Dirt Cheap’ is definitely getting cut”, and kind of wanted a little bit of apples and oranges in terms of those first two.

We knew we were gonna cut a ton more songs, but I just loved ‘See You Next Summer’ in a sense that I have lived that song. I am currently living that song. Me and Brittney are going on 10 years of marriage this December. And it’s a forever kind of love song, ‘See You Next Summer’. It’s not just a summer love song. I think humans, we’re all looking for love. And so that one, once we decided “that’s going in the first batch”, it was a no brainer. And then once we got in the studio, and really brought that to life, everybody was like, “this has to go first”, and I was like, “cool”.

We were waiting, and I was waiting and wanting, when we were ready to go to radio, I wanted the whole team – this was a goal of mine, I didn’t vocalise this but I was waiting for everybody to be like, “this is the song that’s going first”. I wanted everybody’s approval and everybody to be like, “this is the song, this can’t wait, this has gotta go first” and that ended up being ‘See You Next Summer’.

I just love, not only the storyline, but I loved the production. I love the drop chorus at the top of the chorus. First chorus it’s a vocal and piano, and then into that hook on the title – it blasts with mandolin, banjo, guitar, it’s got some steel in there, and then a massive guitar solo and that bridge. It’s got a lot of energy in that song and it’s also got a lot of dynamic. There’s that release of the payoff and the hook is powerful. I felt like it would be a great addition to a live set, and hopefully radio would love it and they do. It’s just been a blessing. I love that song.

Is that approach of having variety and mixing things up a bit something that’s quite important to you with this new album?

Yeah, not too different. You know, ‘See You Next Summer’ kind of has a double meaning. It’s like the song ‘See You Next Summer’ and then literally “see you next summer” ’cause that’s like the last beachy song I got coming for a second. Everything else is a little bit different. But not too sonically different. I think everything that I’m working on and making fits on the same project.

I also wanted to ask a little bit about the Tribe Kelley brand you and Brittney run together. Tell us a little about that and how it came about..

Yeah. Tribe Kelley was birthed on the bus, really our first year of marriage. We got a bus, our own bus, 2014 was our first year of marriage, and it started with her customising my clothes, her clothes on the road, our band’s clothes and everything like that. We launched our first collection on our one year anniversary, that December. And it’s a lifestyle brand. It’s based on travel, athleisure, outdoor. It’s based on chapters of our life, what we’re going through and what we’re living through and what we’re up to.

And so where this new collection kind of finds us, oddly enough, it goes hand in hand with a lot of my new music. And this collaboration with Mossy Oak, the famous camouflage company, it’s our favourite and she reached out to them – it’s kind of her brainchild. We were like, “hey, we’d love to use a print of yours in some of these fashion pieces and these Butter sweats that we’re getting really well known for”. Just kind of excited to push the needle and do something different and I couldn’t be more proud of Brittney and what she’s been able to create. I’m lucky to create alongside of her and kind of be along for the ride. She’s absolutely killing it.

And I love this collection. We just did a photo shoot about a week ago, and I really believe it might be our best collection yet.

Lastly – what do the next six months look like for you?

We’re really working on honing in on our tour schedule, getting a bunch of shows locked in, getting as much music as we can out, and just trying to shake as many hands of fans as I can and just keep hittin’ it. Trying to continue to write, even, as much as I can, and just music focused on building a career that can last. Just continuing to push myself.

Brain Kelley’s latest song, ‘Dirt Cheap’, is out now on Nashville South Records/Big Machine Label Group LLC.

The post Interview: Brian Kelley on new music, C2C memories and 2024 plans appeared first on Entertainment Focus.

The nine-track project opens with ‘Something ‘Bout A Sunset’, which mixes heavy guitars with soft vocals over a pulsing beat and bags of vivid imagery, before picking up into a big soaring chorus. There’s a yearning in the lyrics as the band sing about ‘mak[ing] it last forever’ and a desire to head out west alongside a sense of fight (‘going down but it ain’t done yet’), as well as a killer guitar riff on the bridge that really elevates. it’s the type of song that’s going to have great energy as a live track and a great way to kick things off.

One thing that stood out to me on the record is the sheer range of sounds and musical styles the band use in their work. ‘Heart Attack’ is a stompy, twangy number about falling in love across a bar with some clever wordplay and plenty of punch – as well as a fantastic banjo solo from Barton Davies – whilst ‘Feel For You – Dusk’ has more of a folk influence initially that balances the smooth vocals and smart lyrical callbacks before picking up into a Zach-Bryan-goes-electric guitar riff. Elsewhere, ‘Whiskey Dreams’ has a grungy vibe and a raw, regret-tinged lyric of dancing away one’s troubles, and the midtempo ‘Young Forever’ leans heavy on the harmonica with its wistful images of ‘painted stars and mason jars’ that shows off the richness and quality of the band’s musicianship.

For me one of the highlights is ‘Mama, I’m Misbehaving’. It opens with a rattling, atmospheric intro that builds up from a sparse melody into layers upon layers of sound, and there’s an introspective self-awareness in the lyrics that stands out from the rest of the project, with a narrator who sings about knowing full well what they’re doing isn’t working but not being able (or not wanting to) stop. I also really liked the spoken word section midway and there’s something about the structure that puts me in mind of classic 90s rap and hip-hop songs. It’s something of a departure from the other songs here and something I’d definitely be interested to see them explore further in the future.

The record closes with three tracks that in my view really tie the whole thing together. The driving beat and rock-influenced chorus of ‘Goodbyes Are Sad’ has a nostalgic feel, with its lyrics of leaving one’s home town after high school or escaping a breakup, before the shift into the upbeat, bright melody of ‘Lonely In This Town’ with its lyrical twist and details of the ‘good luck feather you tied to my rearview’ and stars ‘like a million little diamonds on the river’. You feel like you’re really immersed in this small town and the catchy, anthemic chorus will stick in your head so much that you almost don’t notice the introspective lyrics until you’re fully singing along to them.

Things come full circle with the last track, ‘Opposite Directions’, which brings the band back to the acoustic, folky approach they showed glimmers of elsewhere. There’s a warm, mellow feel about the song which is balanced out by its lyrical theme of letting go (‘she took the mountains, I took the prairies’) and I like that it echoes back to ‘Something ‘Bout A Sunset’ with its lyrics about heading west. There’s a real maturity to it that shows a tremendous amount of depth and it definitely finishes the whole thing on a high.

Overall Boy Named Banjo have delivered a strong body of work that’s sure to sound great live and is packed with singalong choruses that worm their way into your ears instantly, as well as showing off their incredible musicianship, vast array of musical influences and intelligent, knowing songwriting. It’s a real melting pot with something to appeal to everyone and should see them winning over plenty of new fans. If I had one criticism, it perhaps needs a few softer moments, but this is a great introduction to their sound and I’m excited to see where they go from here.

Track list: 1. Something ‘Bout A Sunset 2. Heart Attack 3. Feel For You – Dusk 4. Young Forever 5. Whiskey Dreams 6. Mama, I’m Misbehavin’ 7. Goodbyes Are Sad 8. Lonely In This Town 9. Opposite Directions Record label: Mercury Nashville/UMG Records Release date: 29th September 2023

The post Boy Named Banjo – ‘Dusk’ album review appeared first on Entertainment Focus.

The video provides a tantalising preview of the upcoming documentary ‘Europe – The Movie’ which the band has been diligently crafting with producer and director Craig Hooper (known for his work with Deep Purple and Saxon) under Coolhead Productions. This documentary is slated for release in early 2024 and promises to narrate Europe’s captivating journey from their inception to present day. It will recount their meteoric rise in the mid-80s, their enduring spirit through challenging times, and their triumphant return in the new millennium, showcasing the band’s current successes.

‘Hold Your Head Up’ was recorded at Atlantis Studios in Stockholm just last month, helmed by renowned producer Klas Åhlund, known for his work with Ghost and Robyn. The track is a spirited, up-tempo rocker that carries echoes of the band’s early sound. The song was expertly mixed by Stefan Glaumann, who also worked on the band’s ‘Secret Society’ album and has contributed his talents to acts like Rammstein and Def Leppard.

Joey Tempest, the band’s frontman, shared his thoughts on the new single, saying, ‘Hold Your Head Up’ is an up-tempo, guitar-driven rocker about persevering through challenging times and the profound influence my father had on me to always give my best. It’s been six years since our last release, ‘Walk The Earth,’ recorded at Abbey Road, and we had an amazing time in the studio with producer Klas Åhlund. He ignited a fiery and passionate energy within the band, and we’re eager to perform this song on tour and incorporate it into our next album. We’re immensely proud of this track.”

Currently Europe is in the midst of their ‘Time Capsule’ 40th anniversary tour, featuring 21 concerts spanning Switzerland, Italy, Germany, Norway, Sweden, France, the Netherlands, and the UK. The tour includes two nights at the illustrious London Palladium and offers fans a career-spanning “evening with” performance, showcasing all the band’s chart-toppers along with beloved deep cuts from their extensive discography.

The Time Capsule 40th Anniversary 2023 Shows:

• September 30th: Switzerland – Lausanne, Metropole
• October 1st: Switzerland – Zurich, Volkshaus – SOLD OUT
• October 2nd: Italy – Milan, Teatro Degli Arcimboldi – SOLD OUT
• October 4th: Germany – Stuttgart, Theaterhaus – SOLD OUT
• October 5th: Germany – Munich, Circus Krone – SOLD OUT
• October 6th: Germany – Berlin, Admiralspalast
• October 8th: Norway – Oslo, Opera House – SOLD OUT
• October 9th: Sweden – Stockholm, Cirkus – SOLD OUT
• October 14th: France – Paris, Salle Pleyel – SOLD OUT
• October 15th: Netherlands – Utrecht, TivoliVredenburg – SOLD OUT
• October 17th: UK – Cardiff, St. David’s Hall
• October 18th: UK – Glasgow, Royal Concert Hall
• October 19th: UK – Gateshead, The Sage
• October 21st: UK – Wolverhampton, The Halls
• October 22nd: UK – Salford, The Lowry
• October 24th: UK – Leicester, De Montfort Hall
• October 25th: UK – London, The Palladium
• October 26th: UK – London, The Palladium
• October 30th: Sweden – Stockholm, Cirkus – SOLD OUT
• October 31st: Sweden – Stockholm, Cirkus – SOLD OUT

The post Rock legends Europe release ‘Hold Your Head Up’ ahead of 40th anniversary UK shows appeared first on Entertainment Focus.

This is not The Folio Society’s first foray into the world of Murakami. Some of his most celebrated works have already been published for their catalogue, comprising ‘Kafka on the Shore’ in 2021 and ‘Norwegian Wood’ in 2022. ‘The Wind-Up Bird Chronicle’ represents the third title in the range, adding perhaps the author’s most well-known and celebrated work. Stylistically, the three novels have been produced in similar ways, including retaining Columbian artist Daniel Liévano as the illustrator for all three. This approach ensures that the titles look aesthetically sublime on your bookcase.

Often considered Murakami’s magnum opus, ‘The Wind-Up Bird Chronicle’ finds the author in a rich vein of form. The novel is full of his trademark stylistic literary techniques. The mundane, ordinary world of failing marriages, missing pets and unemployment are combined with the magical and the surreal. The author guides the reader through a labyrinthine story populated with weird and wonderful characters.

The hero is Toru Okada, a man approaching early middle-age. Love is disappearing from his marriage at the same time as his cat (bizarrely named after his wife’s brother, whom Toru despises) has gone missing. Kumiko, his wife, suggests he use his time to find the cat, since Toru has jacked in his job as a lawyer’s assistant and has little to occupy himself. At night, searching for his cat, Toru meets teenager May Kasahara. She introduces him to an abandoned house that contains a deep, dry well that she sometimes sits in. The house, and the well contained within it, prove to be a safe space for Toru as well as a portal to his past. His destiny becomes inextricably linked to it.

Typically, for a Murakami novel, a neat synopsis is a tricky task to pull off. The inciting incident – the hunt for the missing cat – proves not to be integral to the book at all. Toru’s problems really start when Kumiko leaves him and disappears without trace a third of the way through. Throughout the non-linear plot, Toru has plenty of interesting experiences and meets all kinds of intriguing people from a would-be clairvoyant to a World War Two veteran who is full of stories about the conflict he saw. Few of these encounters logically connect different strands of the story. Rather, Murakami’s style is to meander through dream-like sequences, creating and maintaining atmosphere, which becomes more important than the events of the story. Throughout it, there is but a tenuous connection to reality.

Regularly considered one of the most significant living authors, Haruki Murakami is an author of international significance and acclaim whose works continue to demand attention and accrue loyal readers. There’s no doubt that ‘The Wind-Up Bird Chronicle’ finds at writer at the height of his powers. For a relatively long book, the prose is counterintuitively fresh and tight.

How engrossed the reader becomes in the story will be a matter of taste. As a reader who tends to favour books with a strong protagonist and plot, ‘The Wind-Up Bird Chronicle’ didn’t grab me with any sense of urgency. Toru Okada is, in common with other Murakami heroes, ineffectual. I find it hard to warm to a drifter. Neither he nor his promiscuous wife Kumiko is especially sympathetic. A few elements date the book. One is the transcription of the conversation that estranged husband and wife conduct over the internet using a chat function. It would have been cutting edge when the book was published, but as always, rapidly-developing technology roots the book within a five-year window. The other aspect is the somewhat gratuitous descriptions of Toru’s sexual experiences. Perhaps, in Japanese society at the tail end of the Twentieth Century, such descriptions may have been groundbreaking and liberating. In today’s more sensitive and reserved times, they feel too on the nose.

Despite a few reservations that stem from personal preference, I enjoyed experiencing ‘The Wind-Up Bird Chronicle’ as a book that led me far from my comfort zone. The story is full of nuance and clever, intriguing ideas. It is a fine literary achievement that, especially for those who can orient themselves within Murakami’s chaotic realm of the imagination, rewards a close reading. Its power is in the story’s ability to keep re-inventing itself. Yet the third part ties up loose ends and satisfies readers – even if you’ve meandered so far off the beaten path you’ve forgotten where you started!

This luxurious hardback edition of Haruki Murakami’s ‘The Wind-Up Bird Chronicle’ bound in blocked cloth is available exclusively from The Folio Society. It features single or double-page full-colour illustrations by Daniel Liévano that bring the text to life, and an introduction by the author himself.

Publisher: The Folio Society Publication date: 12th September 2023 Buy ‘The Wind-Up Bird Chronicle’

The post Haruki Murakami – ‘The Wind-Up Bird Chronicle’ The Folio Society edition review appeared first on Entertainment Focus.

The stage is set with a large screen displaying a giant blue Kylie Tension banner and the crowd are buzzing with anticipation. As the band and dancers take to the stage and the opening bars of ‘Spinning Around’ begin as the screen fills with the yellow swirl seen at Radio 2 in Leicester recently. Kylie takes to the stage in a purple see-through PVC suit with solid black top and it quickly becomes clear she is feeling the love and perhaps a little hyper at it being ‘Tension’ release week. She is absolutely in her element as she eases through her 2000 No.1 hit and the crowd are in fine singing voice too.

Kylie recently headlined Radio 2 in the Park in Leicester and this is the basis of tonight’s hit-filled set. We are treated to the ‘Infinite Disco’ version of ‘In Your Eyes’, before ‘On A Night Like This’ cuts into ‘Wow’. Kylie is in a cheeky mood as she says knowingly in the former “Yes, it has been a lifetime”; a nod to the fact that us Lovers await this type of phrase.

As we get our first real pause of the night as Kylie takes a quick drink, the crowd seize the opportunity to show her all their love and appreciation and she looks genuinely overwhelmed as she beams from ear to ear, waiting for the adoration to stop…but it keeps going for a good few minutes. She even moves her mic so she can scream back to a fan ‘I love you too!’.  She is definitely living her best life tonight, despite explaining that she has a bit of a sore throat coming on after talking about her new album ‘Tension’ all week.  “It’s been a week of love and surprises,” she declares.

Speaking of the new album, Kylie introduces the title track and gives it her all with the choreography.  It’s then time to slow it down with the ‘Infinite Disco’ mash up of her 2003 No.1 hit ‘Slow’ and Donna Summer’s ‘Love To Love You Baby’.  A slinky, sexy number which just adds to the already building heat in the room.

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Then, for the first surprise of the night, as Kylie informs us that she’s going to be singing a song from the new album for the first time live. It’s one of my faves – ‘Story’! I was nervous for her to see how she would cope with the high notes in the chorus but I needn’t have been – she nailed it, and made it look so easy! At the end of the song she gets emotional saying “I’m gonna cry now.” It doesn’t help one of her co-writers on the song is watching from the balcony.  It clearly means alot to her as a song as she has alluded to in various interviews about the album. She then tells the crowd that she too was worried about that falsetto; “I really didn’t think about those high notes when we wrote it!” Before giving a little acapella replay of said high notes.

The pace is slowed with the anthemic ‘Say Something’ stripped back with just an acoustic guitar (courtesy of Luke from her band) as Kylie asksled fans to put their phone torches on for a galatic effect. Another surprise follows as Kylie tells us that in soundcheck they pulled ‘an old friend out of the bag’ and are going to play it now. I was pleased to hear she wasn’t stepping too far back in time, just to 2018 for the uplifting ‘Dancing’ which had fans clicking fingers, clapping hands and even foot stomping.

Kylie reminisced about playing the Shepherd’s Bush Empire in 1998 for her Intimate & Live tour, working with Manic Street Preachers and Nick Cave and asks the audience who was at that gig. When several hands shoot up, she asks one fan “How have you been the last 25 years?”. It’s another sign of how relaxed and naturally charasmatic Kylie is tonight; these intimate venues really allow her personality to shine.

She then announces she is going to do a song from that late 90s era and enjoys leaving us hanging for a moment and I can’t be alone in thinking surely it can’t be ‘Some Kind of Bliss’?!  She did after all get that in her Tik Tok video this week? She reveals it’s actually ‘Breathe’ complete with a nod to her giant sparkly K from that tour on the screen behind her. Such a beautiful song!

Next up is the euphoric new track ‘Holding On To Now’ which gets the crowd dancing once more and we don’t stop as ‘Love At First Sight’ follows. There are some obligatory train arm motions made throughout the venue as the Abbey Road version of ‘Loco-motion’ blares out to keep the energy on full.

Although many die hard fans would perhaps like to see ‘Kids’ retired from the next tour setlist, the crowd lap it up tonight. I guess it is Kylie’s version of a stadium rock song that definitely gets people clapping along and waving their arms. Sadly, there’s no special guest joining Kylie to perform the song tonight but her backing singers are more than capable of being her duet partners.

Kylie thanks the crowd before running off…but we all know there’s at least one more song to go. The screens go red as the eerie music fades in and the crowd surge forward in delight at what’s to come.  It’s minor Padamonium! The crowd go wild as Kylie returns in a red catsuit with thigh high boots and a chiffon cape over the top. It’s a real highlight of the night with the crowd singing ‘Padam Padam’ in unison.

There’s no time for a come down as it’s swiftly followed by a quick ‘la,la,la’ and the audience are instantly chanting along – ‘Can’t Get You Out Of My Head’ is still that song that gives me goosebumps!

Finally, as the confetti cannons are moved into position, it’s time for the last song of the night, ‘All The Lovers”. Kylie is on a high and glad to have made it through with her throat intact. She described the night as ‘What a night! What a celebration’ and I couldn’t have said it better myself.

Set list: 1. Spinning Around 2.In Your Eyes 3. On A Night Like This/Wow 4. Tension 5. Slow/Love To Love 6. Story 7. Say Something 8. Dancing 9. Breathe 10. Hold On To Now 11. Love At First Sight 12. Loco-motion 13. Kids Encore: 14. Padam Padam 15. Can’t Get You Out Of My Head 16. All The Lovers Performance date: 27th September 2023

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