Texas Trust CU Theater has quietly become my unofficial 80s home base this year. Before 2026, I’d only been there twice. However, this summer I’ve been to three concerts there including this Squeeze, Adam Ant, Haircut 100 concert review. The Texas Trust CU Theater has turned into something of an accidental residency. At this point, we have spent enough evenings there that we’re starting to recognize the merch vendors, the security staff, and a few of the lobby’s quirks.
We even added to the wardrobe this time: Chari picked up a 3/4‑sleeve Squeeze shirt, and I grabbed tour shirts for Haircut 100 and Adam Ant. The one with the ant in the tribal headdress, which might be the coolest piece of merch I’ve bought all year.
It’s become a running joke that every time we think we’re done with Texas Trust, another 80s lineup gets announced and we end up right back in our usual seats. First we saw the Generations Tour with Human League, Soft Cell and Alison Moyet. Next up was the Things Can Only Get Better Tour with Howard Jones, Wang Chung, The English Beat and Modern English. And it’s not stopping with the Squeeze, Adam Ant, Haircut 100 concert. We’ll be back later this fall for Stray Cats who we saw this summer in Tulsa.
This particular night brought together three very different slices of the decade: Haircut 100’s pastel jazz‑funk, Adam Ant’s tribal‑drum swagger, and Squeeze’s conceptual British pop. For me, it doubled as a decades‑apart reunion with Squeeze and a long‑delayed bucket‑list moment with Haircut 100. It also continued a couple of themes that have quietly threaded through my concert‑going life lately, from father‑and‑son musical connections to an unexpected run of shows featuring women drummers.
Haircut 100 — A Bucket List Finally Checked
Haircut 100 breaking up in 1982 meant I never had a shot at seeing them during their original run. They were one of those bands that lived entirely in the realm of “would’ve been fun,” since I was all of eleven when they broke up. Their reunion a few years ago — and the release of Boxing the Compass earlier this year — finally made the impossible possible.
They opened with three tracks from the new album, including Vanishing Point, which came across even better live than on the album. The new material has that familiar buoyant, jazz‑funk bounce, but with a maturity that doesn’t feel like nostalgia cosplay.
Then came the run everyone was waiting for:
- Fantastic Day
- Love Plus One (my personal favorite)
- Favourite Shirts (Boy Meets Girl)
The horn section was bright and tight, very Haircut 100. But I’ll admit: I was genuinely disappointed they didn’t bring a xylophone for Love Plus One. It’s an iconic part of the song’s DNA. More importantly, it would’ve given me the chance to finally see the instrument tied to my long‑running secret back story.
Back when I owned a winery, I’d occasionally tell customers I was the touring xylophone player for Haircut 100 whenever I got tired of explaining my real history. The joke, of course, was that the band had broken up when I was about eleven and had not played together in decades. However, since the band was fairly obscure and the story absurd enough to be believable, I never had anybody push back on it. Seeing them live without a xylophone felt like the universe refusing to validate my totally believable story.
Still, the set was joyful, crisp, and worth the decades‑long wait. And Nick Heyward looks like he’s hardly aged at all since 1982.
Adam Ant — Two Drummers, Kettle Drums, and Full‑Throttle Energy
Unlike the other two artists on this bill, Adam Ant didn’t come promoting new material. He came to deliver a high‑energy sprint through his solo catalog and the Adam & the Ants classics, backed by a band that’s far better than nostalgia tours usually get. His two‑drummer setup remains one of the most visually satisfying things in 80s live music, especially because so many of his songs lean into that tribal, percussive heartbeat.
One of those drummers is Jola, and seeing her continued a trend I didn’t expect this last year or so. I’ve ended up seeing more women drummers in the last eighteen months than in the previous thirty years combined. Franz Ferdinand, Rush with Anika Nilles, Simple Minds with Cherisse Osei — and now Adam Ant. It wasn’t intentional, just something I kept noticing from show to show.
A standout moment of the set came at the beginning of Antmusic. The guitarist and bassist joined the two drummers by playing kettle drums, creating a four‑person percussive front line that looked cool and sounded fantastic. His backing band was excellent across the board: tight, energetic, and clearly having fun.
Adam Ant’s Friend or Foe album was one of the very first albums I ever bought, and it’s still one of my favorites from the 80s. I probably listen to the entire album about once a month. Hearing songs from that era performed with this level of energy and precision felt like reconnecting with a piece of my musical DNA.
Standouts included Desperate But Not Serious, which works shockingly well without the horns from the album cut — leaner, sharper, and more rhythmic live — and Stand and Deliver, delivered with full swagger and a crowd that was more than ready for it.
Squeeze — A 1974 Concept Album, a Nightclub Set, and a Joyful Finale
Squeeze headlined the night with a set that unfolded in three acts, starting with a run of four classics that immediately locked the crowd in. Up the Junction — maybe my favorite Squeeze song — was the standout of this opening stretch. The songs sounded great and were delivered with the same crisp storytelling and melodic punch that made them timeless.
After those four songs, Glenn Tilbrook stepped forward to talk about the origins of Trixies. He explained that he and Chris Difford wrote the songs back in 1974, before Squeeze existed in its familiar form. The album is a concept piece about the characters who drift in and out of a nightclub called Trixies. The band leaned fully into that theme. The stage was dressed like a club: small tables with candles, a neon‑style Trixies sign glowing behind them, and a mood that felt more theatrical than a typical Squeeze show.
They played the album in its entirety, and it’s genuinely strong. You can hear the early‑70s DNA in the songwriting — flashes of Bowie, hints of Beatles melodic phrasing, and that unmistakable Tilbrook/Difford lyrical wit. Why Don’t You and You Get the Feeling were two of my favorites from the new material. But frankly the entire album is excellent.
After Trixies wrapped, the band shifted back into their classics. The started with Hourglass, which is still one of the most purely fun songs of the 80s. Later in this section, their excellent keyboardist came out with an accordion for Third Rail and Goodbye Girl, which added a playful, unexpected texture. At times, it almost seemed like were in the midst of a Mardi Gras celebration. He was also a blast to watch on Slap and Tickle, playing the keyboards at a speed that looked physically impossible. He even used a karate‑chop motion on the keys, like he was trying to break boards instead of play notes.
The percussionist, Steve Smith, was another highlight — almost a show within the show. My goal in life is to love my job as much as he clearly loves his. He played bongos and assorted percussion instruments with such joy and abandon that you couldn’t help but watch him. Several times he jumped into the air before hitting the cymbals with his bare hands. Not a technique I’ve ever seen recommended, but it worked.
The final song, Take Me I’m Yours, turned into a full jam session as each band member was introduced. Everyone took a solo, and their backup singer delivered a surprise rendition of Dolly Parton’s Coat of Many Colors, which brought the house down. It was one of those moments that happens when a band is confident and having fun.
Glenn Tilbrook’s son Leon handled guitar duties on this tour. Another link in the father–son thread that’s been popping up across so many of the shows I’ve seen over the past year plus. Peter Hook had his son on bass. The Vapors had David Fenton’s son Danny on guitar at Lost 80s Live last year. Squeeze, who headlined this show, had Glenn Tilbrook’s son Leon playing guitar on their current tour. And coming up later this fall, I’ll be seeing John Fogerty, who tours with his sons Shane and Tyler. It’s become an unexpected thread tying all these shows together. Different bands, different eras, but the same father-son bond.
Seeing Squeeze again brought me back to the first time I saw them — at the Hollywood Bowl in 1991, when they opened for Sting’s 40th birthday concert. I believe it was a major pay‑per‑view event at the time, and while I can’t find a setlist for their portion of the show, I remember them playing many of their hits. I’ve seen over twenty shows at the Hollywood Bowl over the years, including Ella Fitzgerald, Dave Brubeck, and multiple John Williams nights. It’s an incredible venue — a true treasure — and Squeeze was fantastic there. As I write this review, it happens to be Sting’s 75th birthday, which adds a strange little symmetry to the night.
Closing Thoughts on a Squeeze, Adam Ant, Haircut 100 Concert Review
Three bands, three different corners of the 80s, one theater that has become a recurring time machine for us this year. Haircut 100 finally checked a box I’ve been waiting decades to mark. Adam Ant proved once again that two drummers are always better than one. And Squeeze showed that even songs written in 1974 can feel fresh when played by musicians who never stopped evolving. Overall, we really enjoyed the Tried, Tested and Trixies tour, and it was great seeing Squeeze again after 35 years.
It was one of those nights where nostalgia wasn’t the point — it was just the backdrop. The real story was how these shows connect across decades, and why a Squeeze, Adam Ant, Haircut 100 concert review ends up being about far more than just the songs played on stage. It’s about the long, winding musical thread that keeps pulling us back to the places and artists we love. It’s about connections like fathers and sons, reunions, and music spanning generations.
For more videos of songs from this great show, check out my YouTube channel, I have several other videos from this show.
