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Videos
I Can't Explain / Substitute
Substitute
Who Are You
The Kids Are Alright / Bargain
Pinball Wizard
Love Ain't For Keeping
Love Ain't For Keeping
The Seeker
Behind Blue Eyes
I'm One
I'm One
Love Reign O'er Me
My Generation
My Generation
Eminence Front
Baba O'Riley / Won't Get Fooled Again
Won't Get Fooled Again
Won't Get Fooled Again
The Song is Over
The Song is Over
The Song is Over
Press
Review by David Stark
We could tell it was going to be hard for the Who last night as soon as we saw blood on Pete's guitar after a couple of songs, he cut a fingernail and had to have brief onstage treatment from a nurse. I'm amazed he was able to continue but he did, however the problems continued with Roger not being happy with the drum balance in his ear monitors causing a few songs to be restarted. Have to say the sound wasn't anything like as good as their support act, the extremely polished Level 42, while I really don't like Zak's all-electronic kit which just sounded like toy drums most of the evening.
However on the plus side Roger's voice was fantastic as was Pete's who was also suffering from a recent knee replacement. And the big surprise was the unexpected finale of The Song Is Over (take two) from Who's Next, never performed by the band before but they managed to get through it just before the 11pm curfew. Was worth suffering all the mishaps just to hear it, a perfect closer. Then to the aftershow and good to see all the other Who fans over from the USA and the Netherlands etc. All in a very good cause for Teenage Cancer Trust....
Review by Lloyd Fox
As a long time fan, having seen every line up and configuration of the Who since the Keith Moon era on, here is a short prequel in my review of the second and final gig of their Teen Cancer Trust appearance. More doesn't equate to better.
Following the loss of Moonie, it wasn't until the 1999-2000 shows, after a fan told Pete, to just "be the Who", that they once again put on rock and roll's most explosive stage show. Unfortunately that ended after the loss of the Ox in 2002. They continued touring regardless.
Other than a few new songs from a late era new release, any major fan could easily recite 90% of their setlist, tour after tour after tour. IMHO, it was hard for a traditional fan of the primal smash in your face Who show, to see the Orchestra era from 2019 on. For me, it was getting old and redundant.
What a pleasure it was to see the Who both nights this week. Yes, we got the same old same old, but the inclusion of Love Ain't For Keeping both nights was a treat. A fairly minimal band was another pleasant surprise.
But the highlight for me and I'm sure many other's (by the way, I never peaked at the setlist taped on the stage ten feet in front of me, why would I? It's the Who) was the final half hour of the gig.
It was obvious that after the amazing My Generation - See Me, Feel Me medley, that Roger was gassed. Like a boxer at the tail end of a prize fight. He got through You Better, You Bet, Baba then the "obvious" finale Won't get fooled again, Pete was tanked, Roger was exhausted.
At that moment, Pete strapped on his gold, recently blood stained strat. Then the piano intro. My mouth dropped, a Who classic not performed since 1971, Song is Over. A false start, a decent redo, well played. It was once again, joy in Whoville.
What a wonderful night indeed. After well over a hundred Who gigs, spanning every version of their existence, from 1974 - 2025, if this turns out to be my final Who show, how poetic would it be to have it end with "Excepting one note, pure and easy Playing so free, like a breath rippling by?"
LONG LIVE ROCK
Review by Matthew North
The Who & Level 42
Royal Albert Hall - London 30th March 2025
I was delighted to see that The Who were playing again. I last saw them 2 years ago not too far from where I live in Cornwall. That was a brilliant show and what topped off the night was Pete giving a shoutout to a local charity called Livewire whom I know and who do excellent work. Tonight is a show for the Teenage Cancer Trust and there was a speech midway through from a young girl that was utterly moving.
The show started promptly with the first band Level 42. Now this is a band that can sell out the Royal Albert Hall themselves very easily so it was great that they were able to play. All killer no filler set. The most recent song was the opener Heaven in my Hand from around 1988! The band are super tight at the set was hit filled all the way.
Level 42 Setlist
Heaven in my hand
To be with you again
Running in the Family..
The Sun goes Down (Living it Up)
Starchild
Something About You
Lessons in Love
The Chinese Way
Hot water
About 25 minutes past and then there was some announcements and speeches for the Charity then it was time for the Who to come on.
Now I will get this out the way first. There was one thing that detracted from the sound and that was the use of an electronic drum kit. I can see why because its the only way to keep sound levels down on stage, however it did manage to give the feel of the sound less intensity that you normally get from a Who show.
The same feeling I had when I saw them last time with the orchestra. This time though no orchestra and I much prefer the ‘Band’ version of The Who. Simon Townshend was playing a lot more acoustic guitar this time round and he has the uncanny ability to emulate his brothers playing style with eases. He is the perfect second guitarist for The Who and well, always has been.
I can't explain, Substitute & Who are you all got off to a good start. Though Pete had to have a bit of emergency first aid to the bleeding finger.
After The Kids are Alright, the band joke about the people like us sat in the choir seats where Pete joked ‘Did you pay extra for such a shit view?’
Bargain followed, then we had the first slight issue of the gig. Simon plays a perfect intro to Pinball Wizard but it appeared that Pete may have played the electric riff in the wrong key? Something was off but by verse 2 was all corrected. Its very easy to make this mistake, I have done it 100s of times and will do again!
Another slightly deeper cut Love ain't for keeping follows. At this point all of the people in the arena area were standing, some dancing and mostly having a jolly good time. However the security were not so party friendly and they were trying to make people sit down. Roger noticed this and quickly signaled to the security team to vacate the area and to not stop people enjoying themselves. And rightly so.
We then get 2 semi acoustic tracks, The Seeker & Behind Blue Eyes, then Pete talks about his recent Knee operation and why he has to sit down for the odd number.
It felt during the Seeker that there might be more problems and there were to come. During the Real Me Roger starts and Pete tells him to stop to announce ‘Im blowing my nose’ !!! WE get a proper start, but then it starts to fall apart.
Roger is using in ear monitors, for those that don’t know what this is. So you can hear on the stage. For the last 50 years you have loudspeakers on the floor called monitors so the musicians can hear what's going on. In ears or IEMs are basically a little radio receiver going to some discreet headphones. Now when they work they give you a studio quality mix at a not overblown level into your ears, when they go wrong to quote Steve Marriot its ‘All or nothing’. And so after the Third attempt the band get through it though there are problems along the way. But the good bits sounded Fantastic. More onstage chit chat follows to do with the monitor levels of the Drums then we get another from Quad 5:15 another banger in the Who cannon.
More quad follows in the shape of Pete’s I'm one. However now all was not good for Pete giving his crew short shrift with his lack of repeat echo & compressor! A beautiful song and some lovely harmonica playing from Roger another stand out moment from the band.
Love Reign O'er Me, this was bloody good. There was some David Gilmour feeling solo from Pete and a great ending from Roger, with a standing ovation in the hall. The Who were back on top.
My Generation, lot of improvisations into Cry if you Want, See me feel me, saw some windmills from Pete.
Eminence Front followed again a great song though I’d love to hear some other Pete songs that have been in the Who's setlist such as Rough Boys or Face the face. You Better You Bet, another great Who Anthem.
Then we got a Who's Next Finale Baba O’Riley and Won’t get fooled again. There was a few more monitoring issues for Roger during this but didn’t distract too much for the enjoyment.
Now we are into the Encore. And wow we get The Song is Over, I have never heard this live before, I’m not even sure if it has been played live very much. But the curse of the in ears strike again. The band have to stop and then restart the song. Second time round it was way better and after this even though a tech brought out Pete's J200 to do ‘Tea and Theatre’ the band left the stage.
I must admit every time I see The Who I wonder if it will be the last. I felt that the last time, but I am so glad that I saw this show. I enjoyed the tension, I much prefer the small band Who to the orchestra version and I know if there had been a third night these tech issues would have been sorted out and the gig would be perfect. As it was It was well worth the 400 plus round trip to see, and long live The Who, the greatest live band you will ever see.
Review by Lauren J. Hammer
The difference between Nights 1 and 2 was night and fucking day. While I didn’t say this with my out loud voice - neither in writing, nor, even within my inner group, I did find myself wondering, if perhaps, they had finally, jumped the shark. (Of course, plenty of people did nothing but rave about Thursday’s show, but I thought it was really flat.)
But tonight? Yeah, Baby. At 81 and almost 80 - they are STILL THE BEST thing out there. Whew!
Backing up…
This time, I was in the house, FRC, for Level 42. (I skipped their set on Night 1, for strategic reasons.) I knew absolutely nothing about them. I don’t think I’d ever heard of them, before they were announced as the support act, but it did pique my curiosity that Brian K was excited about them. I didn’t know any of the material, and I could have done with less deafening volume, but I thought they were pretty great. Your basic vocals, guitar, bass, drums, keys plus a few horn players. High energy. Highly skilled players, with a particularly engaging and impressive rhythm section, which I was slotted right between. Hell, truth be told, I enjoyed their set even more than I did Squeeze’s two sets last year. Nice to have such quality openers, two years in a row.
After the show, I learned from my friend Chris E., that the bass player, who was right in front of me, is an original member, the writer, and the bandleader. He was great. And he even mugged for my camera, allowing me to take “the money shot,” which I’ll include in a separate L42 post, with a short video clip I shot, to give those unfamiliar with them, a sense of the band.
Now on to practical matters. Unlike Night 1, where there was a photo pit, with a video camera on a track, and an arena style barricade, on Night 2, there was no pit, no barricade. Just us, the stage, and a security guard (a real nice guy we befriended the other night), problematically sitting right in front of seats 19/20. More on that later.
When my young Italian friend, Alessandro asked me why no barricade, I theorized that it was to sell more tickets. But upon reflection, I’m thinking that Roger may have done it. I believe I saw him comment in Brian’s blog about feeling too far away and a bit disconnected from the audience the first night.
In any event, towards the end of the Level 42 set, the band was trying to engage the crowd, so knowing it was late in the set, I stood up, in an effort to help out. Security guy swooped in and told me to sit down. No big deal for L42, but Yellow Alert. NO GOOD for The Who. (I will not recount the hell that was the beginning of last year’s Night 2 show. Those who know, know.)
During the set break, security guy came over to me to very nicely explain his marching orders. If one person is standing, he needs to make them sit down. But if everyone is standing, he can let it go. Whew. I told him we would most definitely all be standing for The Who. He was skeptical, but we left it at that.
Sure enough, after the TCT/youngster part of the program, when the band came out on stage, all hell broke loose. Those of us in the front, got up and moved up to the stage, and behind us there was a massive rush/fill to the front. Shortly thereafter, security tried to go along the front of the stage and tell us to go back to our seats. That was not happening.
Personally, I’m fine with the rush. I’m fine with people filling in behind me, as long as they are not trying to push in next to or in front of me, and as long as they are not pressing up against me, invading my personal space and making life uncomfortable for the both of us. I had to do some establishing of boundaries, with two men who were not clear on this concept, but nothing compared to the asshole behavior the night before. Unfortunately, they required periodic pushback throughout the night (quite possibly because they didn’t know how to hold the boundaries behind them - I dunno), but in the overall, it was fine. It was a real GA pit between the front row of the chairs and the stage. While that’s always more work than reserved real estate and ample breathing room, unless there are inconsiderate assholes in my space, I don’t mind, as I know that a standing GA crowd always makes for a better show. And fortunately, as far as I could tell, most of my people succeeded in, ahem, self-upgrading.
Side note: Fortunately, I was wise enough to take my small concert bag with me when I moved to the stage, as I couldn’t even see my seat until after the show. Happily, my bag with TCT programs and my friend Derick’s Windrush book were right where I’d carefully tucked them.
On to the show…
From that first note, they were a substantially better band than Night 1. To start things off, they did exactly what I suggested in my prior writeup. They amped up both the tempo and the energy of Can’t Explain and Substitute. Both songs were light years better. Real standing GA crowd, right up against the stage in the front + the band amped up and firing on all pistons = happy, happy, happy world. Like I said, the difference was night and freaking day. At that point, all of us regulars already knew that tonight was the night.
Also of note, from almost the beginning of the show, Pete’s pickguard was covered in blood. (See photos.) As always, when I see this, I feel two hugely conflicting sets of feelings. On the one hand, great concern and empathy for Pete. That must hurt! On the flip side, excitement, as it damn near 100% of the time portends a GREAT show.
As you know, I’m not much of one for taking photos or vids at Who shows, but being in the front row, literally right in front of Pete, I figured it was my job to capture this, and once I started, I took some sporadic photos throughout.
I can’t remember if it was after ICE or Sub that both Simon (tech not Townshend) and Rachel came out to tend to Pete's wound. (Again, see pics.)
I’m not going to run through the set, song by song again. There were kind of the average number of fuckups. Tech/sound issues were on the high side. It was a similar setlist. Miles was dropped from early in the show. Song Is Over was added (FIRST TIME EVER!!!) late in the show. Tea and Theatre was on the setlist but dropped on account of time. But most importantly, it was an excellent show!
In our collective world “front crowd world," the biggest issues were A) like the freaking Edinburgh Castle, security guys were IN OUR SPACE (fortunately for me, not in MY personal space and B) the security guys were obsessed with people not touching the top of the stage - stupid and aggravating.
About 1/3 of the way through, things boiled over a bit, and bless him, Roger stood up for us and intervened, sending security guys in the center of the pit away. Unfortunately, it happened during Love Ain’t for Keeping, one of the two most important (to me) songs of the night. Huge bummer.
A few songs later, during Real Me, other security guys were back in the scrum and creating more problems. Unfortunately, this time, it occurred while Roger was having major sound issues, and his attention was (understandably, but unfortunately), entirely elsewhere.
Two of my other big requests coming out of Night 1 came to pass. I wanted MORE PETE VOCALS. While not nearly as much more as I would have liked, we got more than Night 1. Some on Substitute, IIRC. For sure more on Kids. For sure more on YBYB. Yay! And standing right in front of him, I had a great Pete night, a great show “with” Pete. And, NO GLASSES, so when he opened them, I got to see his beautiful baby blues.
Additional note: When talking about his knee replacement (which led to him sitting and playing from a chair, periodically), Pete further explained that something about the surgery / recovery has interfered with his breath, with his ability to breathe deeply - impacting his ability to sing. Now I’ve had issues with him doing less and less vocals in recent years, long before this surgery, but it seems only fair to mention his comments in this context.
My other wish coming out of Night 1 was for them to play The Song is Over. They’d sound checked it before Night 1, but they didn’t play it. This time, they did, with a nice intro from Pete, essentially acknowledging that their setlist has been obscenely stagnant over the years, and they were throwing us a bone. Awesome!
To my knowledge, the only times it’s ever been played in the past 54 years was at Roger’s 50th birthday Carnegie Hall (NYC) shows in 1994 and at Pete's Sadler Wells (London) Lifehouse gig in Y2K.
I was at Carnegie Hall (2nd row center for the Night 1 and FRC for Night 2). They were generally weak shows, but for me, Song is Over was the clear highlight, both nights. I was not at Sadler’s Wells. At that point in my life, I had never been outside of the US and Canada, save for one afternoon in Mexico when I was 9.
The performance was rough, as you might expect. And while it would have been nice if it was better rehearsed, I have absolutely no complaints. I am thrilled when they are adventurous, when they try things, when they take chances. You won’t hear me slagging them when they do. (Cry if You Want, Glasgow 2014, anybody?)
But back to this particular effort…
The first stab at it was a bust. Roger had been having sound problems on and off, throughout the night. (Using wedges and not his in-ear monitors.) He totally couldn’t hear what he needed to during Real Me, and they ended up so badly out of sync, that they stopped, did some soundchecking / tech work, and restarted.
Again, with Song is Over, he couldn’t hear what he needed to. Again, they stopped, did some tech work, and started over. On the second effort, they made it through, well enough. I LOVED IT. And after the gig, I had some people tell me that it was worth flying across an ocean, just to see that. And other people, telling me they were moved to tears. Yes, guys, THIS is what it’s about.
My only complaint, again, is that I WANT PETE TO SING. Roger did all of the vocals. One of the reasons I’ve always loved this song, is because, like Naked Eye, lead vocals are shared between Roger AND Pete. Feel free to jump in and correct me if I'm forgetting something, but I feel like Naked Eye, Song is Over, and Let’s See Action are the only songs in their catalog with substantially shared vocals. All three are probably in my top 10% of Who songs, largely for that reason. (I’m not counting just the bridge in Sister Disco or Baba or Bargain.)
Tea and Theatre, was supposed to end the show after SIO, but between the Real Me restart and the Song Is Over restart - they were done. And that was fine. I personally love T&T as a show closer, but I felt fully satisfied with them ending it there, grateful to have gotten T&T on Night 1.
Now that I’m reflecting upon the flow of the setlist, though, I don’t think I’d put SIO at the end. I’d put it where it was on Who’s Next - the end of Side One. I’d probably slot it mid-show, during the quieter section, either before or after Behind Blue Eyes.
One other thing. Late in the show, Pete pointed at Alessandro, a couple slots to my right, told him he loved him, while awkwardly trying to make a heart with his fingers. He then turned to me, told me he loved me, too, while again, awkwardly trying to figure out how to create the image with his hands. In both cases, it was super duper sweet. Did anyone capture that on video? I’d love to see it again.
Will there be more? Well, there’s that orphan pair in Italy in July. And plenty of scuttlebutt about more to come. I reckon we’ll find out, soon enough.
Final Qualifier: I do need to say that while it’s a great show - compared to every other one of the 50+ bands I’ll see this year, they are old men, and in many ways, shells of their former selves. Every five years or so, there has been less and less physicality, less and less lifeforce. But this is the first year, where they were kind of just like a regular band. IIRC, there was only a moment of mic twirling (right at the beginning, during ICE). There was no leaping. There was no jumping about. Windmills were far and few between and not fluid or full. Physically, they were just a band, like all the other bands. And, but, Roger continues to sound GREAT. And Pete’s guitar continues to fully satisfy. And Who music is the best. No complaints, but just acknowledging.
Personal note: It’s so hard to get these write-ups when driving between places. They take hours to write. And that’s without editing nearly as thoroughly as I would like. But trains (my Night 1 writeup) and planes (this one) are the best for this!
Review by Helen Fiona Bryant
It was wonderful - beyond my expectations! So emotional (even without the bombshell news) - I guess he thought we’d all know by now. Roger told the audience at Thursday night’s gig that he’d been told he was going blind, but he didn’t say anything on the Sunday. I assume that HE assumed that we knew by then.
They sang “The Song is Over”, although I’m sure you know that by now. That one had me crying - a rare solo for Roger - as did I’m One - and as for Love Reign O’er Me… I don’t think I’ve ever heard it sound so wonderful and heartfelt. Roger was singing like his life depended on it in the more emotional numbers, which made it so special.
Of course Pete nailed I’m One - I don’t think I’ve ever heard that better either. An incredible night for a wonderful cause - and obviously it’s always so good to see some of the young people that it benefits - that was very moving too. I wouldn’t have missed it for the whole world - although I did wonder, because of a problem last night, if I’d get there at all. But that’s another story.
Review by John Hughes
My journey yesterday to London was affected by transport issues, both trains and underground, which meant I met up quite later than planned with friends. We had a pretty decent meal, followed up by a drink downstairs in a bar whose name I forget. Accordingly I missed level 42 but in all honesty that was no biggie for me.
Chats were had and then it was time to move out to the arena. Now Lauren's comments on night one were remarkably how I felt about Sunday's show in general. Some sluggish songs and some minor cock ups.
Roger was having trouble all night it seemed to me with sound - at one point he took his in ear monitors out, then put them back in, struggling a bit to do so. I notice from Brian Kehew's backstage blog that Roger tried Thursday night without the in ear monitors, but they were definitely back in on Sunday.
What baffled me was why in God's name did no one from the crew come out and try and sort the sound issue out? Change Roger's in ear monitors? Replace some monitors? Move some monitors? These questions will never be answered, I'm sure.
What did concern me was Roger looked physically a bit stiff, while Pete - how he managed to stand up playing for most of the night 4 weeks after a knee replacement I simply don't know. My brother who had a knee replacement a couple of years ago was still on pain killers - strong painkillers - and hobbling around after 4 weeks, and said that he didn't think he could have done what Pete did last night.
This was clearly a hits show. Some hits, though!
I'm not sure, but I don't recall ever seeing the Who play Bargain in the past - unless they did in the couple of shows I saw in 1971. Possible, but I suspect my memory of those days is long divorced from reality. It's likely that I saw the Who play Love ain't for keeping in 1970 because there is a record of them playing it at a couple of shows..
Pete's comments during the show deserve mention. If you can hear them, they really are very funny, or informative, or sagacious, even!
At one point he seemed to be taken by surprise that there were people seated slightly to the rear of the stage; he said "did you pay for those shitty seats?" To which Roger replied "they paid to see my arse".
Then we came to the bit for me that was the stunning surprise. After WGFA, Pete said "there's been a rumour that we've been rehearsing Song is over, we haven't, but we're going to give it a go". (he said something else which I didn't catch)
And they began to play Song is over. Now I confess that this is probably my second favourite song on Who's Next after My wife. Don't get me wrong, I love the whole album, but My wife, Bargain, Going Mobile and Song is over are just sublime.
After about a minute Rog stopped the song and started complaining about the sound. He said - and I precis here - "I can't hear the key we're doing this in. It's not your fault guys, I just can't hear it. I'll sing it in any key you want, but I've got to be able to hear it".
He then said "Ok, let's stop. These people have got trains to catch."
Pete's reaction was priceless; he said "And it was going so well".
So they started again, and Roger sang it perfectly with the band, whether he could hear them properly or not.
I loved it. I sang along - probably annoying the people either side of me - and I confess I wanted them to sing the whole of Pure and Easy after the "There once was a note, pure and easy, like a breath rippling by ending", but it was not to be.
After the show, we agreed that there was a feeling that the end of the road was approaching (for live Who shows) except of course there are two shows booked in Italy in July. Why? Does it mean an European tour?
I know that if it is the last Who concert I see, it was - simply by having Bargain and Song is over in - a pretty good night..
Yes, there were flaws. Yes there were problems. Yes, both Roger and Pete looked kind of stiff and older (Pete with good reason), but you know, live they still cut it.
And now, onto the 24th April and Roger's solo show in Wolverhampton.
Review by Simon Nicholl
The Who at The Royal Albert Hall. Thursday 27th and Sunday 30th March, 2025.
Not least for my own sanity, I’m gonna combine both shows into one tedious match report: I’m fairly aware that there ain’t *that* much new to say, but hell- that ain’t gonna stop me! Having said that, it’s still important to me to see how the band whose peers cited them as being just about as good as it ever got when it came to playing live shows, deal with playing into their 80s. Or to put it another way, to hope that they don’t tarnish whatever legacy remains.
They played for just about two hours on Thursday and about ten minutes shy of that on Sunday, and very wisely had decided to sort of streamline the setlist and keep the songs shorter which meant that we got quite a decent selection…
On Sunday’s show they dropped Tea & Theatre and ended with The Song Is Over. Prophetic? I don’t think so (have they ever played it live before?): they ran out of time because of sound issues which meant that they had to restart it! This happened a few times over both nights, whether it was Peter fluffing the occasional guitar intro or Rog struggling to hear what pitch/key certain songs were in.
Speaking of RD, in all honesty he sounded fantastic and only struggled to hit a couple of high notes. Pete had a new knee fitted very recently which meant that he was a lot less mobile and because of the medication that he was taking he felt breathless more than he would otherwise. You could see how much he was concentrating, trying to get his parts right.
Of course there was still the occasional back-and-forth between the two of them, which still entertains. PT turned around, looked-up at the folks sat in The Choir and Gallery sort of 3/4s behind the band and did a double-take: “Are those cardboard cut-outs up there or real people? Did you lot pay extra for those shitty seats, or what?”. Cue much cheering and RD said that they had paid extra to get a view of his (Rog’s) arse: Peter used a stage-whisper to say that he ain’t got one, hah-hah!
The other thing that is streamlined (well, it’s all relative innit) is the size of the band. It’s goodbye to the orchestra, which Pete asked if we missed and got a resounding no (they did give it a helluva wallop though last year) to which he said, “Well, I fucking do: it means I’ve got to try and play properly now!”. Just get on with it, Big Nose! It’s drums, one backing vocalist (and I did get to see what he was doubling and it wasn’t much), keyboards, bass and Pete’s brother Simon on the other guitar and vocals and doing *all* the heavy lifting. Said it before but the guy is ceaseless!
So we got a jukebox-like show, flaws an’ all. That’s as much as you can hope for, right?