SQUEEZE ACCESS ALL AREAS DON'T PULL THAT TRIGGER
"Now 64 jumps!” shouts Glenn Tilbrook onstage at New York’s The Ritz. The dancefloor reverberates as the audience musters what little energy it has left. It’s nearly midnight on a Monday and many of us have been standing since 7:30 p.m. for our first glimpse of Squeeze in two years.
SQUEEZE ACCESS ALL AREAS DON'T PULL THAT TRIGGER
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Iman Lababedi
"Now 64 jumps!” shouts Glenn Tilbrook onstage at New York’s The Ritz. The dancefloor reverberates as the audience musters what little energy it has left. It’s nearly midnight on a Monday and many of us have been standing since 7:30 p.m. for our first glimpse of Squeeze in two years. In their infinite wisdom the Ritz has cordoned off the only seats; people are dropping like flies.
At least Squeeze are having a good time. “We made no bones about coming to play a club, something we hadn’t done for a long time,” Chris Difford said eight days later. "And as exhausted as I was after each show, I thought the audience was equally exhausted and left equally happy. Because I did."
In a separate interview Jools Holland got closer to the truth. "Two of us liked it, three of us didn’t. I think we played too long.”