POP MUSIC REVIEW : A Perfunctory Set by Squeeze

More than anyone except for maybe Elvis Costello, the British group Squeeze has provided much of the most sophisticated pure pop for grown-ups this decade, chronicling the psychological complexities and complications of the sexual revolution with uncanny emotional accuracy and unerring songwriting craft. The band’s latest album, “Frank,” is yet another telltale work full of infidelities, apologies and divorces, pulled off with the usual aplomb and breezy, tuneful subterfuge.

The album is also something of a commercial dud, which may or may not be the reason that Squeeze’s Monday concert at the Universal Amphitheatre was solidly played but perfunctory in spirit. Two years ago, the band blew into the same hall on the coattails of a major comeback with a show that was lengthier and more joyous.

Pianist Jools Holland, who has acted as jovial host on past tours, sang his obligatory two nifty boogie-woogie numbers but said not a word. Band leaders Glenn Tilbrook and Chris Difford ran through most of their greatest hits with an acceptable level of enthusiasm, though it’s the album tracks that have always tended to be more interesting--represented Monday by the new “She Doesn’t Have to Shave,” one of the few rock songs ever to deal with the effect of menstruation on a relationship, and “Love Circles,” which views the concentric cycles of love as retreating rings.

Animal Logic--a bad idea formed by Stewart Copeland and Stanley Clarke, who should know better--played an opening, hourlong set that was as long as the headliner’s, and there was no logic behind that except for shared management.