Squeeze solo
Tupelo Music Hall welcomes Glenn Tilbrook
On the strength of songs like “Tempted,” “Black Coffee In Bed” and “Up The Junction,” the Squeeze songwriting team of Chris Difford and Glenn Tilbrook has been likened to Lennon and McCartney. However, since Difford penned lyrics and Tilbrook wrote music, a better analogy is Elton John and Bernie Taupin.
In Difford’s biography, Some Fantastic Place, he recalled waiting giddily to hear what Tilbrook had done with his words. “Glenn sits in the middle of my life like the musical maypole,” he wrote. But it was also a fractious relationship marked by an eight-year separation, when Squeeze broke up in 1999.
During this time Squeeze’s melody man found a way with words, starting in 2001 with The Incomplete Glenn Tilbrook. In a recent phone interview, however, the singer-guitarist recalled going solo as a less than joyful experience. “It was a bit of a nasty shock, actually,” Tilbrook said. “There were moments I thought, I’m proud of that, I think that stands out … then there are other things I wish I hadn’t done.”
He’s made three more solo albums; the latest is 2014’s Happy Ending, an effort Tilbrook is quite proud of. “It points at how Squeeze could be in some ways, and still is to me,” he said. There’s similar fondness for Pandemonium Ensues, a 2009 album that featured a surreal guest vocal appearance by Johnny Depp.
Tilbrook came to a conclusion at the end of his learning curve, though. “I’m confident in myself now as a lyricist, and I’m also confident in the fact that I don’t really want to do solo records,” he said. “I’d like to bring my expertise to Squeeze.”
Now, he contributes more lyrically to the Difford & Tilbrook writing process, albeit from a different wheelhouse. “He’s a brilliant lyricist… such a great imagination,” Tilbrook said of Difford. “I can tie things up really in a more forensic way than Chris, and so we’re sort of combining those skills.”
The two just completed a new song, “Food For Thought,” that will be released in the U.K. to raise funds for Trussell Trust, a charity focused on food insecurity issues.
“When we play gigs in the U.K., we funnel money to local food banks,” he said. “I’d love to be able to do that here [in the U.S.], because people need that. It’s a shame, but they do. I’ve been working with [Trussell Trust] for five years, and it seems that people need it now more than ever.”
Tilbrook was slated to play the Tupelo Music Hall in Derry on Sunday, Oct. 2, but at the end of last week Tupelo owner Scott Hayward learned that the Oct. 2 appearance was canceled: “We are so sorry for the bad news,” Hayward wrote on Facebook “We were really looking forward to this one.” As of Sept. 26, Tilbrook’s Oct. 7 stop at City Winery in Boston is still on the schedule. See glenntilbrook.com.
Although he has no plans to do more solo albums, Tilbrook enjoys playing alone; it offers a contrast to his still-burgeoning group. “Squeeze is very meticulously rehearsed, and we’re a great band; I think we’re the best we’ve ever been,” he said. “Conversely, when I’m by myself, I can improvise, I don’t work with a setlist…. I like to go off on tangents, so each night is different from the one before, and people like that.”
The shows offer an eclectic mix that touches on every stage of a career that began in the mid-’70s, along with a few tasty covers, which began with Tilbrook’s livestreams during lockdown. “I love other people’s music, and it’s really great to get inside that and do it yourself,” he said of the sessions, which grew to include his wife and son. “I had no reason to do that other than I wanted to, and to bring the family together.”
Fans at recent gigs have been treated to David Bowie’s “Starman,” the Human League dance hit “Don’t You Want Me,” and “Rocket Man” by Elton John. “What a lovely song,” Tilbrook said of the latter. “It translates very well to just me and a guitar, and it’s a tip of the hat to what a magnificent achievement Elton’s career has been. I’m full of admiration for him.”
Squeeze will be back on the road soon enough, after doing several festivals in England over the summer.
“It was like witnessing magic,” Tilbrook said of the experience. “The sense of relief from the crowds was really palpable, the joy of being able to do something communal again. Because I’ve been gigging for a year now, I’ve got used to it, but you still see that in people’s faces when you’re playing…. It just shows you what a joy it is — not just for us, but any event that you share with people is really precious.”
Featured photo: Glenn Tilbrook. Photo by Rob O’Connor.
10 films for $10
See movies and join the festival jury at Manhattan Short
See 10 movies and then vote for your favorite film and favorite actor at the Manhattan Short film festival, which will screen all over the world but locally at NHTI in Concord from Friday, Sept. 30, through Sunday, Oct. 2.
Admission costs $10.
The films range in subject matter from serious historical and political issues to short stories with a sense of humor that deliver almost punchline-like conclusions. The films come from around the world: Scotland, Spain, Australia, Finland, Lebanon, Czech Republic, Slovakia, U.S. and France.
Two movies use different styles of animation to examine a family’s history: In Freedom Swimmer sketch-like illustrations (often white on black or dark backgrounds) illustrate a conversation between a granddaughter, uncertain about her future in modern Hong Kong, and her grandfather, who fled China for Hong Kong in the 1950s. Love, Dad uses a style of animation that blends collage and stop-motion, with figures frequently appearing as the cut-out shape in a letter or as “animated” photos.
Another standout for me (I was able to see a screening of the films thanks to local festival organizers) is Don vs Lightning. We all have flaws, a neighbor tells Don. She has an extra toe; Don happens to frequently get struck with lightning. This Scottish movie rolls a lot of charm into his tale.
Fans of Cobra Kai will recognize Peyton List (she plays Tory on the Netflix show), who stars in the quirky violent comedy Save the Bees with Jackson Pace (whose credits include 9-1-1: Lone Star). Spanish film The Treatment is a perfect amuse bouche of cleverness ending in a fun punchline. Freefall highlights a grim moment from the book Swimming with Sharks by Joris Luyendijk, about finance bros in London (spoiler alert: the finance bros do not come off as good guys). Both Fetish and The Big Green basically use a woman’s internal monologue, with Fetish going for broad comedy and The Big Green something a little quieter and more reflective.
I’m not usually a fan of kid-in-peril short films (what happens to the kid? How do I prevent this from happening to my kid?!?) but The Blanket does a good job of giving us a little girl with her little-girl playfulness and her big-sister task to go get some milk for her family set against war in Finland in 1939. Luckily, you can calm down with Warsha, a slice of life of a man who works construction and has no space for himself in the apartment he shares with what appears to be like a dozen guys. He finds a somewhat terrifying but oddly peaceful spot to let himself relax and dream.
This year’s finalists range in length from 9 minutes (the delightfully pithy The Treatment) to just over 19 minutes, with most of them hitting the 10-to-15-minute range. I’ve seen shorts collections (think the Oscar documentary shorts in particular) with films that stretch beyond 30 minutes but the overall shorter runtimes of these films makes them an ideal experience for those who are new to short films screenings.
After the screenings, viewers will get to vote for their favorites, picking a best film and best actor. The winners, as picked by international audiences, will be announced at manhattanshort.com on Monday, Oct. 3.
Manhattan Short
Where: NHTI, 31 College Drive in Concord
When: Friday, Sept. 30, at 7 p.m; Saturday, Oct. 1, at 2 and 7 p.m., and Sunday, Oct. 2, at 2 p.m.
Tickets: Admission costs $10.
More info: manhattanshort.com
Featured photo: Don vs Lightning.
The Music Roundup 22/09/29
Local music news & events
• Rocket mannish: American Elton stars piano player Bill Connors, a tribute performer who looks a lot like the object of his impersonation, He’s been on America’s Got Talent and Legends in Concert doing his best Captain Fantastic and has received raves for inhabiting the subtleties of Sir Elton in voice and manner, along with bringing the bling, with costume selections that evoke different stages of a legendary career. Thursday, Sept. 29, 7:30 p.m., Rex Theatre, 23 Amherst St., Manchester, $29 at palacetheatre.com.
• Triple topper: An end-of-week comedy show stars Will Noonan and two more standups routinely found at the top of the bill, Jody Sloane and Joey Carroll. The three perform at an Italian eatery that’s part of a trend making Headliners, New England’s largest comedy franchise, even bigger. Friday, Sept. 30, 7 p.m., Tuscan Kitchen, 67 Main St., Salem, $30 at tuscanbrands.com.
• Probiotic music: The first kombucha brewery in New Hampshire also offers music, with rising indie acts Lily Byrd and Molly McDevitt. Byrd blends dreamy electro-pop with folk music sensibilities on songs like “Don’t Move” and “Better Now,” both from her 2018 EP Numbers. McDevitt, whose hushed vocals will appeal to fans of Beth Orton and Holly Humberstone, is equally evocative. Saturday, Oct. 1, 8 p.m., Auspicious Brew, 1 Washington St., Suite 1103, Dover, $10 at auspicious-brew.square.site.
• Roots bookends: Along with fronting North Coast band Over the Bridge, Mike Forgette keeps busy playing solo, including a brunch and evening set at a country-themed downtown restaurant. Forgette’s originals blend roots and hip-hop, as evidenced by the lovely, spiritual “Grain of Sand.” For shows like these he’s covering others, including a smooth take of Marshall Tucker’s “Can’t You See.” Sunday, Oct. 2, 11 a.m. and 7 p.m., The Goat, 50 Old Granite St, Manchester. See facebook.com/mike.forgette.9.
• Heritage act: There are powerful bloodlines running through North Mississippi All-Stars, starting with brothers Luther and Cody Dickinson, who formed the group in 1996. The lineup has shifted over the years and currently includes Lamar Williams Jr., son of the Allman Brothers bassist, along with Jesse Williams, who’s played with well-known acts like Al Kooper, Johnny A. and the New Black Eagle Jazz Band. Wednesday, Oct. 5, 8 p.m., Jimmy’s Jazz & Blues Club, 135 Congress St., Portsmouth, tickets $20 to $65 at jimmysoncongress.com.
Don’t Worry Darling (R)
Don’t Worry Darling (R)
A sunny mid-20th-century suburb has a dark side, obviously, in Don’t Worry Darling.
Alice (Florence Pugh) and Jack Chambers (Harry Styles) are a blissful-seeming young couple living in a Palm Springs-like desert town full of beautiful mid-century ranches, palm trees and other blissful-seeming couples, including Alice’s neighbor and best friend Bunny (Olivia Wilde, who also directed) and her husband Dean (Nick Kroll), that they regularly hang out with for cocktails and cigarettes. When Alice rushes to greet Jack at the door after his day working for the secretive Victory Project, he is delighted to see her and not just because she has a drink for him in her hand and a steak on the table.
But there is some fraying in the pastel fabric of this company town. What is the Victory Project, the place the husbands leave for in a herd of Cadillacs driving into the desert every morning? Is it top-secret weaponry, as one wife speculates? And why is big boss Frank (Chris Pine) such a creepy cult leader about not just whatever they’re doing out there but the town itself? Alice starts to really consider these questions after her friend Margaret (Kiki Lane) cracks up and loses her young son out in the desert — with Alice’s questioning much to the dismay of Jack, who seems to be on the cusp of big advancement.
Don’t Worry Darling is both better and worse than you probably think it is. You may have heard about this movie’s behind-the-scenes drama (Vulture has a whole roundup if you want to spare yourself the Googling; the Olivia Wilde/Harry Styles stuff, the various actor kerfuffles). All that and the intense coverage of it prepared me for a mess, which this movie isn’t. But, as a fan of Booksmart, Wilde’s first directorial outing, I was also hoping for something with that movie’s charm and cleverness, which this movie doesn’t have. So let go of all your expectations, is I guess what I’m saying.
Pugh does a good job of giving us both the around-the-edges wariness of living in a too-perfect paradise and the increasing anxiety of a person afraid that they’ve been caught in a really dangerous trap but can’t convince anyone else of that. She is highly watchable even when the story doesn’t exactly hold together or seems to be fluffing up the demonstrations of dread because it doesn’t have a lot else to do. It’s clear early on that there’s going to be a “Thing” about this desert oasis. But the movie takes a while to reveal the Thing and then doesn’t do much beyond deliver that (kinda predictable) revelation. Even if you can just go with what’s happening and don’t ask questions about the mechanics (though I couldn’t help but nitpick the mechanics), the delivery of the Thing isn’t sleek enough to smooth out all the bumps, from “wait, what?” plot elements to the performances (Styles doesn’t give much until the movie’s final moments, Wilde feels a notch out of phase with the rest of the movie but Pine seems to be digging into his weirdo character with two spoons). Don’t Worry Darling feels like it’s stalling more than building tension and then hurries through what feels like the important bits, perhaps because it wants us to focus on the message and themes about this woman in a very stylish cage more than some precisely constructed story. I feel like this movie would have been stronger if it could have delivered both. C+
Rated R for sexuality, violent content and language, according to the MPA on filmratings.com. Directed by Olivia Wilde with a screenplay by Katie Silberman, Don’t Worry Darling is two hours and two minutes long and is distributed in theaters by New Line Cinema.
Featured photo: Don’t Worry Darling.
The Milky Way: An Autobiography of our Galaxy, by Moiya McTier
The Milky Way: An Autobiography of our Galaxy, by Moiya McTier (Grand Central Publishing, 244 pages)
In college, I once signed up for an astronomy class. I dropped out after two weeks, having painfully discovered that astronomy isn’t so much about looking at celestial bodies in awe as it is about doing complex math. After that, other than a star-gazing class at a local community college, my knowledge of outer space hasn’t evolved much beyond watching Men in Black, which I maintain is a documentary.
So I was excited about the publication of Moiya McTier’s promised examination of the Milky Way in down-to-earth terms, billed as “an autobiography of our galaxy.” Finally, I could get the astronomy class of my dreams, on my couch, in a mere 244 pages, with an instructor who studied both astronomy and mythology at Harvard and went on to earn a Ph.D. in astrophysics at Columbia.
And I could have, and should have, except for the dumb gimmick that cripples the book: the Milky Way as narrator.
Maybe if this had been a kindly, wise Milky Way, a sort of cosmic Gandalf the Grey, the gimmick would have been easier to stomach. But we are instead given a haughty, snarky, disparaging galaxy, whose persona is made even worse by its perception that it is talking to puny, finite creatures not really worth its time. “I know it’s likely a lot for you to take in, and your brain is fully formed!” the narrator says at one point.
Another time, it says, “Sadly, your ignorance compels me to explain so much to you that I’m still not at the part about me yet.” And then there’s this: “A mayfly can live its entire life in one room of your homes. Isn’t that sad? Don’t you ever wonder why the mayfly even bothers to do anything at all? Because that’s how I feel about you.”
He seems nice, right? Or she. Who knows? This middle-school snark is hard enough to stomach for one chapter; it’s wearisome for the whole of a book. And this persona is so unnecessary; plenty of people write autobiographies without constantly addressing “dear reader.”
The implication of “Dumb reader,” over and again, is even worse.
To be fair, McTier is trying to convey the unconveyable: the vast chasm between small, finite creatures like human beings and the unknowable expanse of space and, if you’re into that sort of thing, a cosmic Intelligence, with a capital I. But Ed Yong did this without talking down to us in An Immense World, and for that matter, there are Twitter accounts that do as much without even using words, like ones that consist of nothing but photos of outer space or microscopic images.
Maybe this is just the kind of unintentional dumbing down that occurs when astrophysicists try to talk to regular people. There aren’t that many of them, after all, and they’ve got their own peculiar brand of humor. As McTier says while trying to explain red dwarf stars, the most common ones in the Milky Way, astronomers don’t all agree on the “initial mass function” of red dwarf stars: “If you ever want to cause an uproar among your astronomers, stand in a crowded planetarium and claim that the Kroupa IMF is better than the Salpeter. Most won’t be able to refrain from loudly asserting their opinion back at you.” Astronomers are clearly the life of the party.
McTier awkwardly hobbles from the Big Bang (“Don’t concern yourself with thoughts of what came before the Big Bang. That kind of knowledge is not for the likes of you — or even me, though I am fabulously worthy on nearly all other counts — to understand”) to the creation and destruction of other galaxies, to black holes, to the modern, mind-boggling telescopes to myths about space, to theories about when and how the world will end. It’s not all terrible, but it’s like eating pistachios with shells; at some point, you question the effort, particularly when she answers the question of extraterrestrial life, “Well, that’s for me to know, and hopefully for you and your scientists to find out.”
What’s most disappointing is that McTier does have a fascinating story to tell: her own.
In a much-too-short foreword written in her voice, McTier throws out a tantalizing morsel of her life story: how a girl who grew up in a cabin with no running water after her parents’ divorce fell in love with the universe and launched herself on an intellectual journey that found her, in her undergraduate studies at Harvard, having an internship that involved spending hours “analyzing five-dimensional data cubes to measure properties of a distant star-forming galaxy.” This from a girl who had to cross state lines to visit a bookstore when she was child.
It speaks to the power of imagination — she used to imagine the sun and the moon were her celestial parents — but also an incredible internal drive and intellect. I would gladly read 500 pages of McTier’s autobiography. But spare me her version of the galaxy’s in half that. D
Book Events
Author events
• DONALD YACOVONE will discuss his new book Teaching White Supremacy: America’s Democratic Ordeal and the Forging of Our National Identity on Thursday, Sept. 29, at 7 p.m. at Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com).
• STEPHEN PULEO visits the Nashua Public Library (2 Court St., 589-4600, nashualibrary.org) on Sunday, Oct. 2, at 2 p.m. to discuss his book Dark Tide: The Great Boston Molasses Flood of 1919. Registration is required.
• RENEE PLODZIK, Concord author, visits Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) on Thursday, Oct. 6, at 6:30 p.m. to present her cookbook Eat Well Move Often Stay Strong.
• MARGARET PORTER presents The Myrtle Wand at Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) on Wednesday, Oct. 12, at 6:30 p.m.
• JOSH MALERMAN, horror novelist, will be at Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) to present his newly released bookDaphne on Thursday, Oct. 13, at 6:30 p.m.
• JOHN IRVING The Historic Music Hall Theater (28 Chestnut St., Portsmouth, 436-2400, themusichall.org) will host novelist and Exeter native John Irving to present his newest release, The Last Chairlift, at the Music Hall on Tuesday, Oct. 18. Tickets are $49 and include a book voucher.
• LYNN LYONS, psychotherapist and anxiety expert, returns to Gibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) on Wednesday, Nov. 16, at 4:30 p.m. with The Anxiety Audit: 7 Sneaky Ways Anxiety Takes Hold and How to Escape Them.
• JOSH FUNK & KARI ALLEN Children’s authors Josh Funk and Kari Allen present their newest books, The Great Caper Caper: Lady Pancake & Sir French Toast Book No. 5 and Maddie and Mabel Take the Lead, atGibson’s Bookstore (45 S. Main St., Concord, 224-0562, gibsonsbookstore.com) on Saturday, Nov. 19, at 11 a.m.