My wife and I walked out of the Squeeze gig at the Albert Hall last night after just under an hour because the sound was unbearable. We had paid £95 each for our seats which were in the perfect spot in the stalls looking straight down the hall from just behind the sound desk, we love Squeeze and have seen them many times, it was the band’s 50th anniversary tour, I’d read the reviews of previous shows and was fully expecting to have a great evening. But the sound was so terrible we both wanted to leave. How can that happen? I’m used to the sound needing to be rebalanced early in a gig and I know that the Albert Hall, even after it’s big upgrade a few years ago, can be a bit tricky but I’ve been to plenty of shows with good sound there. Difford and Tilbrook sounded very good when they joined Richard Thompson and played 3 Squeeze songs there in June. But that was with Richard Thompson’s band and sound crew. Last night, when they came on, only the drums were clearly audible, everything else merged into a sludgy mush. Even Tilbrook’s guitar when he took » Continue Reading.
The one member who just doesn’t last…
I’ve been on something of a Squeeze listening binge of late, and can’t help but notice from liner notes (and following on, Wikipedia) that they’ve been through an excessively large amount of bass players, eight in total. Reading the great ‘Song by Song’ book, no real reasons have been given for Squeeze four-stringers moving on up to 1999, unlike the dirt on drummer Gilson Lavis hitting the sauce and getting a p45 – twice. Since then, the amazing Yolanda Charles lasted one album and her predecessor Lucy Shaw (long-termer of Tilbrook’s solo band) even less time. Add Sean Hurley and Owen Biddle and it makes four in the last six years.
I know the Grateful Dead got through an inordinate amount of keyboard players, and of course the mighty Tap were forced by misfortune and accident into getting multiple drummers.
Are there any other acts that have one particular instrumentalist who never gets a gold watch?
Here are ver Squeeze with the great Keith Wilkinson:
Chris Difford helps to save a small venue
The Astor Theatre in Deal on the East Kent coast is my local, multi-purpose arts centre. It has, like so many venues, been hammered by being forced to close its doors for most of the year. Being unable to offer the usual programme of music, theatre, literary events, art exhibitions and films, as well as a range of classes and workshops which cater to all ages and tastes, means that it is under threat and faces a long, hard winter.
I moved to Deal four years ago and have been getting more and more involved with the building during that time. My daughter attended baby ballet there, my wife runs their weddings and together we helped to re-establish the venue as a cinema with social distancing as things cautiously eased over the summer. It is a space for all of our community, old and young, rich or poor and retains a special place in the hearts of the community.
The Astor did not receive any funding from the recent funding provided to arts institutions by the government. We remain committed to weathering this storm and seeing it through as best we can. We were fortunate to have been featured on » Continue Reading.
Bang goes the MBE
Squeeze sticking it to the man on the Andrew Marr show. Marvellous! Isn’t it? mmm?
http://www.bbc.co.uk/news/uk-politics-35276200
Happy Days!
Squeeze are back! And what a lovely sunny song. (It’s raining cats & dogs in Cape Town)
