Country superstar LeAnn Rimes coming to Honolulu
HONOLULU (KHON2) — The Grammy Award-winning country superstar LeAnn Rimes is set to take the stage in Honolulu at the Blaisdell Arena on July 12.
Rimes first made her debut on the country charts with her song 'Blue' in 1996, which was released a month before her fourteenth birthday.
Dave & Buster's makes Grand Opening Debut at new location
Almost 30 years later, Rimes has now sold 48 million albums and is best known for her hit song 'How Do I Live.' Rimes was also the winner of the fourth season of Fox's 'The Masked Singer,' where she masqueraded as 'Sun.'
Hawaiian-country duo Kalaʻe and Kalena will serve as the openers for Rimes' show.
A special presale for LeAnn Rimes tickets begins April 17 at 9:00 a.m. local time using the promo code LEANNRIMES2025. Tickets for the general public go on sale April 19 at 9:00 a.m. local time. Prices range from $69 to $169 and are available at tmrevents.net, the Neal S. Blaisdell Box Office, or Ticketmaster.com. For more information, visit tmrevents.net.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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Chicago Tribune
43 minutes ago
- Chicago Tribune
Biblioracle: Jess Walter's latest novel, ‘So Far Gone,' has echoes from his earlier books
Jess Walter, author of the just about to be released 'So Far Gone,' is one of my favorite contemporary novelists. He's been something of a shapeshifter over the course of his career, first establishing himself as a crime writer, including in the Edgar Award-winning 'Citizen Vince.' 'The Zero,' from 2006, uses Walter's base in crime fiction set against the Sept. 11 terrorist attacks in the service of a kind of hybrid noir that, through the lens of one character, brilliantly captures our collective disorientation in those first weeks and months post-attack. 'The Financial Lives of Poets' (2009) is a medium-dark domestic comedy about a journalist who (sort of) turns to crime to make ends meet as his profession collapses around him. 'Beautiful Ruins' (2013) is my favorite of Walter's novels, a sprawling tale across time, the 1960s to the present, and place, the glamour of Italy and the glitz of Hollywood. 'The Cold Millions' (2020) explores nascent labor activism in the logging industry of the Pacific Northwest at the turn of the 20th century. The DNA of 'So Far Gone' has elements from across Walter's oeuvre. Like 'The Financial Lives of the Poets,' the central character, Rhys Kinnick, is a journalist who has left the profession, retreating from it and his family to a hermit-like life on some ancestral family land in a cold-water cabin in Washington state. Rhys is drawn back to the world when his 9-year-old and 14-year-old grandchildren (Asher and Leah) are brought to his door and he finds out his daughter, Bethany, has gone missing. Rhys has retreated because his profession, his marriage and his relationship with Bethany all appeared dead, the separation kicked off by Rhys punching Bethany's increasingly devout, increasingly radical second husband (and Leah's father), Shane, in the face over political stances entirely divorced from reality. Rhys thinks he's a failure, a drag on his loved ones. Bethany feels as though he's abandoned his family. This psychological baggage and the way it defines the characters are the center of the novel. Rhys brings the kids to what is supposed to be Asher's junior chess tournament, but quickly loses his grandchildren when they are confronted by members of the Army of the Lord, a radical sect to which Shane sort of belongs. Rhys now needs help, bringing him back into the lives of others. Walter taps into his crime origins to bring us his penchant for snappy dialogue and expert quick establishment of these secondary characters, including Lucy — once Rhys' girlfriend just before and just post-divorce, and still an editor at the paper Rhys left — and Chuck, Lucy's ex-boyfriend and an ex-cop who is looking to get back into Lucy's good graces while also having a particular enmity toward the Army of the Lord. The story careens on from there as different characters are lost and then found throughout. This is, as expected, a very well-done novel. Rhys is winning and interesting even in the midst of a pathetic moment. Walter delves straight into strange territory, asking how some significant portion of people can choose to detach themselves from reality in the name of trying to find solace in a hostile world. There are laugh-out-loud moments of comedy and dark incidents of violence. It's not clear why, ultimately, I wasn't more satisfied by this book. I think it's me, and these times. Walter is trying to paint a route through what seems to be a kind of collective madness to reconnection and a return to community and dignity. It's a story I want to be true. But right now, I don't trust it. I hope someday it does come true. John Warner is the author of books including 'More Than Words: How to Think About Writing in the Age of AI.' You can find him at Book recommendations from the Biblioracle John Warner tells you what to read based on the last five books you've read. 1. 'Antarctica' by Claire Keegan 2. 'Dream State' by Eric Puchner 3. 'Table for Two' by Amor Towles 4. 'Just Mercy' by Bryan Stevenson 5. 'Fatherland: A Memoir of War, Conscience, and Family Secrets' by Burkhard Bilger'Eat the Document' by Dana Spiotta is a great character study rooted in two eras simultaneously, late '60s early '70s political radicals, and the suburbs of the 1990s. 1. 'Middle of the Night' by Riley Sager 2. 'Think Twice' by Harlan Coben 3. 'The Quiet Librarian' by Allen Eskens 4. 'James' by Percival Everett 5. 'Presumed Guilty' by Scott TurowAnybody who looks like they enjoy a good twisty thriller is a good candidate for one of my favorites of the last several years, 'Who Is Maud Dixon?' by Alexandra Andrews. 1. 'The Sympathizer' by Viet Thanh Nguyen 2. 'Crazy Brave' by Joy Harjo 3. 'Parable of the Sower; Parable of the Talents' by Octavia E. Butler 4. 'Braiding Sweetgrass' by Robin Wall Kimmerer 5. 'Born to Run' by Bruce SpringsteenI think Adele is a great candidate for Lorrie Moore's strange and powerful 'I Am Homeless if This Is Not My Home.' Get a reading from the Biblioracle Send a list of the last five books you've read and your hometown to biblioracle@

5 hours ago
How groundbreaking gay author Edmund White paved the way for other writers
NEW YORK -- Andrew Sean Greer, a Pulitzer Prize-winning novelist, remembers the first time he read Edmund White. It was the summer of 1989, he was beginning his second year at Brown University and he had just come out. Having learned that White would be teaching at Brown, he found a copy of White's celebrated coming-of-age novel, 'A Boy's Own Story.' 'I'd never read anything like it — nobody had — and what strikes me looking back is the lack of shame or self-hatred or misery that imbued so many other gay male works of fiction of that time,' says Greer, whose 'Less' won the Pulitzer for fiction in 2018. "I, of course, did not know then I was reading a truly important literary work. All I knew is I wanted to read more. 'Reading was all we had in those days — the private, unshared experience that could help you explore your private life," he said. "Ed invented so many of us." White, a pioneer of contemporary gay literature, died this week at age 85. He left behind such widely read works as 'A Boy's Own Story' and 'The Beautiful Room Is Empty' and a gift to countless younger writers: Validation of their lives, the discovery of themselves through the stories of others. Greer and other authors speak of White's work as more than just an influence, but as a rite of passage: "How a queer man might begin to question all of the deeply held, deeply religious, deeply American assumptions about desire, love, and sex — who is entitled to have it, how it must be had, what it looks like,' says Robert Jones Jr., whose novel above love between two enslaved men, ' The Prophets,' was a National Book Award finalist in 2021. Jones remembers being a teenager in the 1980s when he read 'A Boy's Own Story." He found the book at a store in a gay neighborhood in Manhattan's Greenwich Village, 'the safest place for a person to be openly queer in New York City,' he said. 'It was a scary time for me because all the news stories about queer men revolved around AIDS and dying, and how the disease was the Christian god's vengeance against the 'sin of homosexuality,'' Jones added. 'It was the first time that I had come across any literature that confirmed that queer men have a childhood; that my own desires were not, in fact, some aberration, but were natural; and that any suffering and loneliness I was experiencing wasn't divine retribution, but was the intention of a human-made bigotry that could be, if I had the courage and the community, confronted and perhaps defeated," he said. Starting in the 1970s, White published more than 25 books, including novels, memoirs, plays, biographies and 'The Joy of Gay Sex,' a response to the 1970s bestseller 'The Joy of Sex." He held the rare stature for a living author of having a prize named for him, the Edmund White Award for Debut Fiction, as presented by the Publishing Triangle. 'White was very supportive of young writers, encouraging them to explore and expand new and individual visions,' said Carol Rosenfeld, chair of the Triangle. The award was 'one way of honoring that support.' Winners such the prize was founded, in 2006, have included 'The Prophets,' Myriam Gurba 's 'Dahlia Season' and Joe Okonkwo's 'Jazz Moon.' Earlier this year, the award was given to Jiaming Tang's ' Cinema Love,' a story of gay men in rural China. Tang remembered reading 'A Boy's Own Story' in his early 20s, and said that both the book and White were 'essential touchpoints in my gay coming-of-age.' 'He writes with intimate specificity and humor, and no other writer has captured the electric excitement and crushing loneliness that gay men experience as they come of age,' Tang said. "He's a towering figure. There'd be no gay literature in America without Edmund White.'


Geek Vibes Nation
7 hours ago
- Geek Vibes Nation
‘Bird In Hand' Review - An Honest Look At Family And The Struggle To Embrace Your Identity
Identity feels like something that should be simple. It is just who you are, right? Well, yes and no. It is that, but definitions are difficult and involve complex levels of context provided by life experience, racial history, familial history, and a certain amount of unknowable information that we only sometimes have awareness of at different points in our lives. The gaps in our identities are likely the most interesting; otherwise, what is the living of our moment-to-moment experience even for? The living, no matter how messy, will help inform where we go next and how we deal with it. Bird in Hand, from first-time director Melody C. Roscher, explores this, and much more, under the guise of a familial dramedy. Bird (Alisha Wainwright), a biracial woman, has returned to her family's home in the country, ostensibly because she is engaged to be married to her boyfriend, Frank. This leads her to her mother, Carlotta (Christine Lahti), with whom she has a strained relationship, and her stepfather, Dale (Jeffrey Nordling). As their relationship is explored, they also make connections with their neighbors Dennis (James Le Gros) and Leigh (Annabelle Dexter-Jones), a white married couple who have purchased a plantation home, but don't worry, they are 'updating the narrative.' Wainwright has easily the most difficult task in the film. Roscher, also the screenwriter, is much more consumed with making Bird a real person rather than focusing on pure likability. This is not to say that she is unlikable per se, simply that she is an actual human being with flaws, some of her own making and some due to family history. Even through her issues, Bird's ache for care, consideration, and answers to the questions that she is afraid to ask all comes through clearly and in a manner that makes us root for her. Her search for a possible meeting with her birth father, Bower (K. Todd Freeman), with the excuse of hiring him as musical entertainment for her wedding, offers her the challenge of acting with nothing but her talent and a screen featuring an advertisement for his band. The fact that Wainwright manages a gamut of emotions, including longing, worry, desperation, and frustration, all in the space of a few moments, is a testament to both her obvious talent and Roscher's well-placed trust in her abilities. From the beginning, which features a fight between Bird and Frank in which she is dressed as a bleeding bride for a Halloween party, Roscher handles difficult themes with aplomb. Bird's reaction when being pseudo-proposed to (shock, confusion) may seem odd at this moment, but the script allows this moment to come full circle without ever holding your hand. When Carlotta is dismissive about her upcoming nuptials, we quickly find out that marriage, along with most expected life events, are frowned upon, both due to her 'woo-woo' ideals and her difficult history with Bower leaving her after she became pregnant with Bird. Although there is a massive amount of drama involved, the dark comedy that comes to the forefront almost immediately makes Bird in Hand a mostly easy watch. Yes, families are difficult and emotions are complex. But when you have Christine Lahti almost stealing a horse and white people asking a biracial young woman to pose for pictures in front of a plantation, there are plenty of opportunities for moments of levity that are taken advantage of by Roscher. Some moments feel a bit too much on the side of comedy, but these are brief before we return to Alisha Wainwright's astounding performance of a complex woman. But, like everything in life, nothing is truly simple. Is Bower cruel? Is Carlotta willfully misleading her daughter? Is Bird selfish? Are Carlotta and Dale a loving couple? Are Dennis and Leigh well-meaning white folks? These are all questions that have answers. The problem is that this all depends, not only on who you ask, but when you ask, as the answers, like identity, are constantly in a state of flux. We are all simply doing our best and reacting to the latest information we have. As we age, it becomes important to see our parents as real human beings, but there is maybe nothing harder to achieve. As sons and daughters, we want to be taken care of one moment, and we want a strong reaction the next. When Bird screams at her mother to 'stop being comfortable,' it rocks you to your core. If we are going through emotional trauma, what could be more difficult than a calm person who we know is imperfect and roiling with emotions under the surface? That is, until those emotions come and we have to deal with them. Roscher bravely denies us any easy answers and lays a real, difficult, fractured relationship at our feet, daring us to pick up the pieces. Bird In Hand held its World Premiere as a part of the U.S. Narrative Competition section of the 2025 Tribeca Festival. Director: Melody C. Roscher Screenwriter: Melody C. Roscher Rated: NR Runtime: 87m