Chris Difford and Glenn Tilbrook never had a particularly close buddy-buddy relationship, apart from the first few years of their relationship when they wrote countless songs together to try and get a band off the ground. But, following the commercial and artistic success of their early Squeeze years (roughly 1977-1987), their 'business' relationship has been on and off, and success has increasingly eluded them. Hence, the reformation in 2007 with the intention of making some money and getting the Squeeze name back in the limelight. 

 

Roll on to 2015, and finally the duo have produced a new and original album worthy of their name. Cradle to the Grave is a fine work, Tilbrook's musical prowess and creativity matched by Difford's seemingly effortless ability at writing engaging story songs. Although they have produced some great work as solo artists, together is how they will be largely remembered for, and Cradle to the Grave, whilst very unlikely to scale their earlier heights, will certainly help, aided by the fact the title track (and other album tracks) is being used for the excellent BBC comedy sitcom series, Cradle to Grave, which stars Peter Kay. Indeed, Tilbrook expresses amazement on stage tonight that their song, the jolly romp that is Happy Days, is being played on the radio. "It's unbelievable!"

 

Mixing many of their hits with plenty of new material and the odd album track from yesteryear, it's no suprise which gets the bigger reaction. But, Cradle to the Grave hasn't been released yet and barring Happy Days and the title track, hardly anyone will have heard these new songs, which nevertheless get enthusiastic receptions. They are almost invariably good songs, some of them up there with their best, such as the retro-disco funk of Nirvana. In addition, Tilbrook's voice is still in fine soulful country-pop fettle, while Difford largely strums his way through the set, with the occasional solo vocal, such as the inevitable Cool for Cats, and a version of Tom Waits' I Don't Want to Grow Up, which is featured on the deluxe version of the new album.

 

The band mix it up to, for several songs they form a line on stage, stripped back musically, most noticeably on the country hoedown take on Slap and Tickle.

 

By the time we get to Goodbye Girl spontaneous pockets of dancing are occuring; the roaming security eventually giving up on controlling this outburst of phsyicality, especially when Up the Junction strikes up. It's an all-seated event, but many Squeeze songs are simply to uplifting and danceable…

 

Closing out the gig with their very first chart hit Take Me I'm Yours, the band change their instruments seamlessly, halfway through, stripping back the song and playing acoustically, before leaving the stage, and heading for the bar area, whereupon a voice helpfully points out that they are making their way to the merchandise stalls, and perhaps you should too…

 

Here, you can buy a freshly minted recording of the gig you have just watched, as well as their new album and various other souvenirs. £50 a pop to see the show, absolutely rammed at both merchandise stalls, the squeeze is on. But who can blame them?

Jeff Hemmings