VIENNA, Va. – In the realm of nostalgia tours, the collaboration between Boy George and Squeeze stands out as a vibrant mix.

The multitude of hits that the flamboyant Boy George produced with Culture Club have become essential elements of ‘80s playlists, remaining not just recognizable but also cherished sing-alongs that highlight a style of pop and soul deserving of greater recognition.

Squeeze, who are marking their 50-year milestone with founding members Glenn Tilbrook and Chris Difford leading a highly fashionable band, truly excel in live performances, allowing their rich sound to truly shine.

Since August, both acts have been on a joint tour humorously labeled the Squeeze Me Boy George USA Tour, which will continue along the East Coast until September 22.

On September 10 at the Wolf Trap amphitheater in northern Virginia, fans excited about both artists (with Squeeze possibly attracting more enthusiastic dancers) enjoyed a lively three-hour journey through music from the late ’70s and ‘80s, featuring classics and a few unexpected gems.

Boy George Shines with Charisma

Just a few months after his time on Broadway in “Moulin Rouge,” the ever-daring Boy George reveled in his onstage presence. He blended fresh tunes (like the electrifying “Mind Your Own Existence”) with iconic Culture Club tracks (including an unexpectedly early rendition of “Karma Chameleon” and the infectious “It’s a Miracle”), sprinkled with witty remarks (“I’m excited about the upcoming (presidential) debate. No thoughts—just drama!”), all accompanied by his signature cheeky smile.

Wearing his signature rounded top hat adorned with pink stars perched above his glittering green eyes, Boy George snapped his fingers and playfully engaged with his bandmates during a spirited medley of “Church of the Poison Mind” and Wham!’s “I’m Your Man.”

While there may be a slight weariness in his higher range, the smooth tones that define Boy George’s voice remain intact, evident in the soulful resonance of “The Crying Game” and the heartfelt “Suddenly I’m Wiser.”

At 63, Boy George has also become more reflective. He shared that as he ages, he’s learned to let go of concerns over things beyond his control.

This introspection led to “Mrs. Blame,” a lively piece influenced by Irish traditions, which stands out as one of his most fascinating newer songs.

Closing his hour-long performance, Boy George delivered a cover of Prince’s “Purple Rain,” a fitting choice for a voice that still showcases its distinctive versatility.

Squeeze Delivers New Wave Energy

From the opening chords of “Take Me I’m Yours,” Squeeze demonstrated why their music resonates best in a live setting.

Nine musicians joined Tilbrook, 67, and Difford, 69 – dressed stylishly in purple and peach attire, fitting for the occasion – as they entertained the crowd for 75 minutes with a mix of beloved classics and refreshed songs.

Tilbrook, often unrecognized as one of the finest guitarists of his generation, unleashed powerful solos on tracks like “Hourglass” and “Up the Junction,” while Difford contributed strong harmonies with a cool, intellectual presence.

Alongside well-known songs such as the rhythm-driven “Pulling Mussels (From the Shell),” performed under vibrant neon lights, and “Goodbye Girl,” which cleverly integrates accordion, mandolin, and cowbell, Squeeze also introduced some freshly reimagined material to their audience.

The song “Summer,” which emerged from the rerecording of a “lost” Squeeze album from 50 years ago, particularly resonated thanks to its rich harmonies created by eight of the nine musicians performing on stage.

Tracks like “You Get the Feeling” and “Trixie’s Hell on Earth” captivated the audience; the former was smooth and melodic, while the latter featured lively keyboard segments.

Though Tilbrook’s signature tenor remains largely intact, at times the band’s energetic performance overshadowed his vocals. Yet, a raw performance of Squeeze’s top U.S. hit, the witty “Tempted,” showcased his vocal talents beautifully.

With the stage bathed in hot pink light, Tilbrook played the song’s melody on his electric guitar, keeping the atmosphere relaxed as the audience joyfully joined in, until the band launched into the final part of the song.

“There’s a lot of joy in this room,” Difford remarked earlier in the show, a sentiment that was undeniably true.