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Videos
Full show
Full show
Who Are You
The Seeker
My Generation
You Better You Bet
Going Mobile
The Real Me
5:15
Baba O'Riley
Won't Get Fooled Again
The Song is Over
Tea & Theatre
Press
Review by Lisa Seckler-Roode
In a glorious return to the Northeast US, THE WHO dazzled everyone at The Prudential Center last night.
There was an interesting vibe in the house to say the least; there were young kids with their parents, twenty somethings, and those of us who’ve been part of the merrymaking crowd forever.
De rigueur, house lights down, tremendous roar from the crowd as the band took the stage, with Pete ripping into the opening bars of “Can’t Explain”, flourishing the song with windmills, rolling right into “SUBSTITUTE” (cue chills!).
There was little banter between Pete and Roger; this was all serious business, with Roger’s voice as strong as it’s ever been. Absolutely incredible that at 81 years old, he can belt it out as if it was The Metropolitan Opera House all over again.
Pete went into a riff about the writing of “THE SEEKER”, which as we all know was written about his personal search for spiritual enlightenment, and it was absolutely beautiful.
Going to get deliberately vague for the rest, as... if you want to know a set list, get off yer bums, get tickets and GO. This is it folks; they’ve had stellar performances for 60 years, and they deserve the acknowledgement, all the praise, and the love.
As far as the band; Jon Button, Simon Townshend, Jody Linscott, John Hogg, Loren Gold, and Scott Devours NAILED IT. Scott acknowledges that he has huge shoes to fill, and his playing is brilliant, reflecting and “respecting the ancestors” as it were. The same goes for Jon Button, who brought a smile to my lips during a bass solo. Simon Townshend? Well, ahem… he’s a Townshend isn’t he? He was GREAT.
Lastly... "THE SONG IS OVER” was jaw dropping. This should’ve been in the set a lifetime ago, as others from “WHO’S NEXT”. I admittedly teared up, reliving a lifetime, a literal lifetime of adventures seeing the band. The soundtrack of my life.
The Song Is Over? Is it REALLY? Ponder this... the music will live on, THE WHO will live on for eternity, as the BEST (and loudest) band on the planet.
One of the greatest joys is seeing 10-14 year olds SINGING ALONG.
Get tickets. GO. Don’t let “The Song Is Over” Be YOU, missing out.
Review by Gigi Barlowe
My overall experience last night was one of great joy and also sadness. My first Who show was in 1975, in the nose bleed seats. My history with this band runs very deep.
I had no plans to attend the Prudential show, but was invited that morning, an offer that I could not refuse. We were upstate and a good distance away this week but we said of course.
Without going into the details of every song, I can say that Roger’s voice defies his age or really any age. For me he has the best voice in Rock and Roll, hands down. When I complimented him after the show and asked him how it’s possible that he can still sing like THAT!!!! His answer was simple, he said he was given a gift, and he loves sharing it with all of us. He was humble and being so sincere. He loves what he does!
Pete looked and sounded great, Scott Devours was outstanding, huge boots to fill and he did!! Simon gives so much to this current line up, I don’t think people realize what he actually brings. He is an amazing musician and vocalist. Loren and Jon round out a perfect evening for me.
I’ll leave it there. See you at MSG, get tickets if you have not already done so.
Review by Ken Klavon
It felt like the beginning of a celebratory farewell.
Celebratory in the sense that it really feels like this is it (how many times have we said, ‘This could be it?’ You know who you are.) But also celebratory in an oxymoronic sense, because there was an undercurrent of sadness as I watched The Who dazzle yet again at the Prudential Center in Newark, New Jersey Tuesday night.
How does one put into words what this band, along with its music and lyrics, has meant to so many lives? Has any other band permeated souls the way The Who has, providing vitality and strength, serving as a life force? Dramatics aside, it’s impossible to measure the effect the music has had. Pray tell, has any other band had more than one magnum opus (Tommy, Who’s Next, Quadrophenia)? They have provided the soundtrack to our lives.
Before The Who took the stage, one prominent figure bowed at their altar.
To paraphrase Billy Bob Thorton near the end of his enjoyable opening set with The Boxmasters, “There are three legendary bands that have defined all of music: The Beatles, the Rolling Stones — and The Who. It ends there.”
As Pete Townshend’s familiar chords tore into staple opener I Can’t Explain (ICE), the personal sadness dissipated a bit just before the band segued to Substitute. (As an aside, without consulting the brilliant “The Who: Concert File,” Google’s AI Overview on a quick search confirmed ICE has kicked off most Who shows.)
There were, of course, questions. Would the energy be there? How would they sound? How about the setlist, which gets analyzed by Who faithful more than a stockbroker studies stocks.
Even at Roger Daltrey and Townshend’s advanced ages, it took a mere few seconds to understand they were there to deliver. The band vigorously pounded through a balanced setlist for roughly an hour and 40 minutes, with stunning background visuals accentuating the music — taking one on a proverbial amazing journey. The visuals told the history of the band, aptly including the late John Entwistle and Keith Moon in sound clips, photos and videos.
Daltrey and Townshend led Tuesday’s charge, with Simon Townshend (acoustic guitar and mandolin), Jon Button (bass), Loren Gold (keyboards), Jody Linscott (percussion), John Hogg (backing vocals and percussion) and Scott Devours (drums) rounding out a stellar collection of musicians.
A word about Devours, who was thrown into an unimaginable situation with Zak Starkey’s departure, depending which story is to be believed. He admirably grasped the large reins left behind by Starkey, just as Starkey did with the inimitable Moon. If nothing else, Devours looked as though he was thoroughly enjoying himself. Plus, for those familiar with Daltrey’s solo band, Devours has always had the chops.
By Who Are You — the third of 20 songs on the night — the crowd was buzzing. Townshend offered up several thunderous windmills, which over the years have gradually been replaced with modified versions. Less torque. Less overhand. By any stretch, a Townshend windmill is akin to lightning bolts filling a stormy sky. Fans love it. Raucous cheers can, at times, be heard over the music.
Like revisiting yesteryear, it was pleasing to see Townshend play more lead than he has on recent tours. Except for a few songs, his brother Simon had mainly been relegated to acoustic. Townshend attacked, freelanced and showed shades of his guitar prowess, delivering blistering solos on My Generation and 5:15. Tears of joy.
However, what would a Who show be without snafus? For starters, the brilliance in any Who performance going off the rails, albeit briefly, can be found in the authenticity of the moment. During Pinball Wizard, Button’s first bass chord sounded more like a sizzling hiss. Button’s surprised look gave way to a clear technical issue that caught Daltrey’s ire. How Daltrey continues when his concentration and timing are divided speaks more to his professionalism as a performer.
Then on Behind Blue Eyes (BBE), Daltrey had a rough start that led to a restart. In an honest moment, he said he felt his timing was off. For some Who fans, BBE has grown tired over the years, but they also recognize it’s a personal and important piece of The Who’s oeuvre. This rendition, which combined Townshend’s acoustic dexterity with some of the song’s bombast, was a reimagined version from a few years back that carries gravitas. It felt spiritual.
All the usual hits were present, but there were a few “obscurities” that have rotated in and out of previous tour setlists. Love Ain’t For Keepin’, the shortest song on Who’s Next and originally included on Townshend’s Lifehouse Chronicles, made a reappearance with Daltrey singing an octave lower but nailing it. For the record, Daltrey’s voice was commanding the entire night. His voice has always served as The Who’s secret weapon.
Another undervalued Who’s Next song, Goin’ Mobile, got introduced midway through by Townshend. The song has become a standard on Daltrey’s solo tours. The only difference is that Townshend ceded lead vocals to brother Simon, who delivered with impressive bravado.
For years, Who fans have clamored for The Song Is Over. It’s melodic; it also evokes certain emotions, imagery and wordplay that only Townshend could write. Yet the band never played it live due to a complex arrangement that Townshend was worried might come across as amateurish. Daltrey and Townshend took stabs at performing it solo. This tour, eponymously named after the song, takes on a feeling of finality.
It did not disappoint, although The Who played a condensed version with Daltrey substituting some lines that projected a stirring goodbye. The sentiment got drawn out with Tea & Theatre as Townshend mentioned they were ending with a softer touch. Up until Tuesday night, The Song Is Over had ended shows.
It should be noted the first U.S. concert at Sunrise, Florida on August 16 included three more songs: I Can See For Miles (ICSFM), Bargain and I’ve Had Enough. According to one fan who took in the soundcheck, Roger and the others discussed a Newark curfew. Roger mentioned the latter wasn’t going to be on the setlist, and the band worked on an a cappella version of ICSFM.
All in all, The Who exceeded expectations Tuesday night. Let’s be honest, they aren’t the juggernauts they were in the 1970s with unrestrained energy, but their catalog still places them heads above most bands out there. It’s easy to see why they were once considered the “The World’s Greatest Live Band.”
Paraphrasing Townshend in his final remarks before leaving the stage, “Thank you for taking part in The Who’s music. And thank you for enjoying the poetry of The Who all these years.”
It felt like a fond farewell, as it should be. Bittersweet and celebratory.
As one of rock’s pioneer bands, there has never been a blueprint for how legends retire. We just know it should be on their own terms.
It’s a blessing to be part of that celebration.
Review by Alan McKendree
The show opened with a crisp I Can't Explain, then Substitute. Who Are You was the third choice, which was a good choice for the pit photographers with its theatrical visual opportunities.
Once the photographers left, we got down to business with the swingy rhythm of Relay, which was followed by the welcome rarity Love Ain't for Keeping, which Pete introduced as "a throwaway song from Who's Next." Many fans would beg to differ on the "throwaway" description of this lovely ballad.
A brief nod to Tommy followed, with Pinball Wizard and See Me Feel Me / Listening to You. The visuals from previous tours were used for this, with the giant hand moving to point to every individual in the audience.
A chair was brought out for Pete for Behind Blue Eyes. Roger called for a restart to this one, apparently due to sound problems. It went without a hitch on the second try.
Pete introduced Simon on lead vocals for Goin' Mobile. It was really great to hear this one, which is being performed by The Who on this tour for the first time. Of course, Simon has plenty of practice performing it with Roger's solo shows so he did his usual great job with it, sailing his pick out into the audience after.
That was followed by a four-song Quadrophenia romp, starting with a blistering The Real Me. Pete toned things down for the plaintive I'm One, and then 5:15 and Love Reign O'er Me brought up the crowd energy, with Pete leading a well-earned ovation for Roger at the end of LROM.
One standout moment was when Pete decided to extend the ever-tricky end of Baba O'Riley indefinitely, strumming the chord back and forth and locking in with Scott Devours clearly beyond the usual ending note, just seeing how long they could take it until Pete finally decided to end it, turning away with a slight playful smile.
When Won't Get Fooled Again started, I thought it was too early to end the show; it felt like we were only two-thirds done. But sure enough, without leaving the stage the band played the encore songs: The Song is Over and Tea & Theatre. The first, of course, has special significance for the band and all its fans, as it's not only the name of the tour, but is a rarity in performance and explicitly acknowledges the coming end of The Who as a touring band. Pete said something about wanting to send off the audience in a quieter mood, before the band left the stage and he and Roger sang Tea & Theatre as a duo.
The show was half an hour shorter than the tour opener in Sunrise, FL. It was mentioned at sound check that the Sunrise show was too long and the Newark show would be shorter. As they left, Pete said they weren't what they used to be, but they were still giving it their all. The audience enthusiastically agreed.