Gilson Lavis, the distinguished English drummer who powered Squeeze through their most defining years and later became an in-demand portrait artist, has died at his Lincolnshire home at age 74. Lavis passed away on 5 November 2025.
For fans of British new wave and rhythm-and-blues revival, Lavis was a pivotal presence. From the late 1970s through the early 1990s, he served as the dynamic rhythmic engine for Squeeze, one of the era’s most inventive and melodically sophisticated bands. His crisp snare, precise timing and groove-centred approach became intrinsic to classics like Cool For Cats, Up The Junction, Tempted and Black Coffee In Bed.
Born David Leslie Gilson Lavis on 27 June 1951, he forged a path to professional musicianship long before joining Squeeze. Prior to his breakthrough, Lavis had already earned stripes playing live with rock and country legends Chuck Berry, Jerry Lee Lewis and Dolly Parton. It was a music-industry job advertisement in Melody Maker that changed his trajectory. At the time he was working in a brickyard when the opportunity came up, and he seized it.
Lavis joined Squeeze in 1975, stepping into a London outfit already earning a reputation as one of the city’s sharpest rising acts. Founded by songwriting partners Chris Difford and Glenn Tilbrook in Deptford in 1974, Squeeze emerged just as the UK’s new wave movement began reshaping the musical landscape. With Jools Holland on keyboards and Harri Kakoulli on bass, the group developed a tightly crafted style blending punchy pop hooks with street-level storytelling.
Lavis’ arrival completed their sonic identity. Before long, the band would land singles and EPs through independent labels before signing with A&M Records. Their debut EP Packet Of Three arrived in 1977, and the following year they released their first album.
The real breakthrough came with second album Cool For Cats in 1979, containing the now-iconic title track and Up The Junction, both reaching No.2 in the UK. Lavis’ sharp rhythmic snap cut through the new wave explosion, and Squeeze found themselves at the forefront of a crowded field.
In 1980, Argybargy elevated their international profile, with Another Nail In My Heart and Pulling Mussels (From The Shell) resonating beyond the UK. During this period, their sophisticated songwriting earned Difford and Tilbrook comparisons to Lennon and McCartney.
1981’s East Side Story, produced by Elvis Costello and Roger Bechirian, became another highlight. The soulful classic Tempted, featuring Paul Carrack on lead vocals, further expanded their fanbase, particularly in the United States. By then, Lavis had cemented his position as one of Britain’s most versatile rock drummers.
Sweets From A Stranger followed in 1982, but internal pressures led to a brief breakup. Reuniting in 1985, the classic lineup returned for charity performances and then resumed touring and recording, producing Cosi Fan Tutti Frutti and later Babylon And On, which contained US Top 40 hits Hourglass and 853-5937.
1991’s Play marked Lavis’ final studio album with Squeeze. After the release, the band parted ways creatively, and Lavis exited in 1992 following 16 years of defining contribution.
While many musicians slow down after decades on the road, Lavis shifted gears brilliantly. Reuniting with Jools Holland, he became a mainstay in Jools Holland’s Rhythm And Blues Orchestra, performing on international tours, television programs and festival stages. He continued with the orchestra until retiring from drumming in late 2024.
Parallel to his music career, Lavis built a respected reputation as a portrait artist. His works were featured in exhibitions across London and surrounding counties, showcasing expressive, character-driven pieces. Subjects included Lily Allen, Paloma Faith, Bob Dylan, Jimi Hendrix, Louis Armstrong, Lulu and Smokey Robinson. Lavis’ art echoed the vibrancy and rhythm he brought to his drumming – textured, alive and deeply human.
He made a cameo in the 1994 improvised comedy film There’s No Business…, appearing alongside Jools Holland as part of “The Nice Twelve”.
With his passing, the music world loses a rhythmic force who helped sculpt the sound of British pop at a crucial moment in its evolution, and the art world farewells a painter who captured musicians with rare warmth and insight.
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