THE WHO Wembley Stadium, London
A SHORT approach into The Who’s staggering Wembley Stadium gig, Pete Townshend takes a mic to appreciate everybody for spending hard-earned money on a pricey tickets.
But a aged rebel, glowing in beige raincoat and blue boiler suit, can’t conflict adding, “Now since don’t we all f*** off!”
The guitarist was in lively, amusingly warlike mood throughout, finish with his heading windmill flourishes, on a Saturday night of surprises.
He and associate flourishing owner member, thespian Roger Daltrey (looking fit and dapper), might be in their mid-Seventies, though they’re not going quietly.
This time out, a full band corroborated those soaring vocals and measureless energy chords with, it has to be said, churned results.
The strings and horns valid strenuous on an opening preference from Tommy nonetheless combined to a play of a method from a band’s other stone opera, Quadrophenia, that culminated in a still jaw-dropping primal roar of Love Reign O’er Me.
In a midst of a mayhem, support act, Pearl Jam thespian Eddie Vedder, assimilated his childhood heroes for a rip-roaring delivery of The Punk And The Godfather.
One of The Who’s best-loved stone classics, Won’t Get Fooled Again, was recast as an endearing acoustic Daltrey/ Townshend duet, dedicated to activists everywhere since it was created about “hairy hippies who achieved f*** all”.
Then there were dual new songs from their stirring album, a anthemic Hero Ground Zero and a slicing strain for a times, Big Cigar, both boding good for a release.
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They also eschewed a possibility to play apparent hits such as My Generation and we Can’t Explain though took deeper dives into a behind catalog with Imagine A Man (from The Who By Numbers) and Eminence Front (It’s Hard).
However, they did spin to a good Who’s Next manuscript for a high Behind Blue Eyes and a stirring encore of Baba O’Riley, branch behind a time with a carol of “it’s usually teenage wasteland”.
With that, Townshend thanked Roger “The Voice” Daltrey while a thespian reminded us that The Who might have mislaid their childish glorious though a songs still sound “f***ing brilliant.”
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