by John Johnson, Photos by Chaz Dykes of Chaz D Photography
On a slightly breezy and not too characteristically humid Friday evening in Clearwater, the relatively sparse crowd was about to be treated to two iconic 80’s musical acts. Boy George opened for Squeeze at Ruth Eckerd’s outdoor gem of a venue, and the charismatic entertainer delivered a captivating performance that set a vibrant tone for the night.
From the moment he took the stage, his magnetism was palpable, drawing in the crowd with a mix of nostalgia and infectious albeit slightly subdued energy. No longer touring with Culture Club, his younger but very tight backup band proved to be more than capable. The two backup singers, one male and one female, took turns showcasing their vocal abilities. Opening with covers of Prince’s “Purple Rain” and T. Rex’s “Bang a Gong (Get it On)”, then leading into fan favorite “Karma Chameleon” with a Hendrix interlude. Five songs in, and just before his first costume change, Mr. George Alan O’Dowd and company played “Do You Really Want to Hurt Me,” which had the audience singing along and dancing, in spite of having a slightly reggae-esque reimagined melody.
Although it was an enjoyable performance, I’m not sure why they tried to “fix” something that wasn’t broken. Backup singer Natalie Palmer, whose pipes were exceedingly larger than her petite stature, delivered a booming performance during “Church of the Poison Mind”, originally sung by Helen Terry 41 years prior. They also managed to mix into this tune a personal favorite “Just Got Lucky” by JoBoxers. The outdoor setting added to the atmosphere, with the sun setting behind him, creating a picturesque backdrop as he donned his ten gallon hat with matching custom coat. Although it may not have been quite ten gallons, and the fact that he’s British may have made it roughly 6 liters, but large regardless. I digress. Impressive headwear aside, Boy George’s voice was as powerful as ever, and his engaging banter kept the crowd entertained between songs. He effortlessly connected with fans, sharing stories, and cracking jokes that added a personal touch to the experience.
The attendees were made aware of when he was being whimsical because he followed each quip with his nearly trademark cackle. Near the end of the set, George stepped away for a second costume change, putting the spotlight on his protege Vangelis Polydorou. The backup singer, donned in a black lace jumpsuit, is an element of continuity between Culture Club band concerts and Boy George solo shows. Having a little extra time left, Boy George called all participants to come to the front of the stage to dance. The two song encore was a pleasant surprise as the group covered “Smalltown Boy” by 80’s British band Bronski Beat, and Bread’s “Everything I Own”, which had the mass singing along.
Having seen Boy George before, with Culture Club and without, I was most excited to see a group I had yet to catch live. The band originally from London England had formed eons ago in the mid 70’s, Squeeze. Lead by founding members Chris Difford and Glen Tilbrook, who, at one time were hailed as “the heirs to the Lennon/McCartney throne”. The eight piece ensemble wasted no time as they jumped right into “Take Me I’m Yours”, “Hour Glass” and the rousing “Up the Junction”. The latter being the band’s first US Top 40 entry from way back in 1979. The band’s signature blend of catchy melodies (mostly Tilbrook) and clever lyrics (mostly Difford) was on full display as they launched into a setlist packed with classics.
Song seven “Pulling Muscles (From the Shell)” seemed to revive the relatively low attendance and had fans singing along and bopping to the beat. The 16 song set was predominantly sung by Mr. Tilbrook, with Mr. Difford fronting “Someone Else’s Heart” and the super catchy ditty “Cool for Cats”. The two dapper gentlemen surrounded themselves with extraordinary players for the evening. Most notably the two male percussionists and keyboard vocalist, newest member, and the only female on stage. Not to be outdone, a multi-instrumentalist decked in all white, masterfully played a matching accordion during “Goodbye Girl”. Another aspect that was on display was Tilbrook’s underrated six-string mastery, as demonstrated on several aforementioned selections as well as “Slap and Tickle” and “Is That Love.” The English elder statesmen prodded the audience, like Boy George before them, to forego security and join the party at the front of the stage, and we did.
The band’s energy was infectious, with Difford and Tilbrook showcasing their remarkable chemistry on stage as they celebrate 50 years together. The newly assembled mass now at their feet, they led their congregation to join them in singing the heartfelt lyrics to “Tempted” and the show closing, favorite “Black Coffee in Bed”. The musicianship was top-notch, with the supporting band members adding rich layers to the sound and The Sound (see what I did there). Squeeze’s ability to connect with their audience was evident; they expertly balanced nostalgia with a fresh energy that some would say left all in attendance feeling SQUOZE (you’re welcome Chaz). It was a night that reminded everyone why Squeeze remains a beloved staple in British pop music. The stellar outdoor venue once again enhanced the experience, and The Sound’s serene setting and affable staff were amazing as per usual. A truly delightful concert that left fans buzzing long after the final encore.
