On the verge of their sixth decade as a band and The Who really have nothing to prove but still don’t care about what they’re being told by others. This is The Who and they’ll do exactly as they want. Whilst the “hope I die before I get old” line in ‘My Generation’ may now seem a bit of youthful bravado and rhetoric, Pete Townshend and Roger Daltrey still have a raging fire in their bellies and their performance at the O2 on this tour was nothing less than incendiary.

Before those delights, the task of warming up the audience in the cavernous arena fell to singer/songwriter Isabella Coulstock. Having made a name for herself having opened for Jools Holland amongst others, the challenge of strolling out onstage at one of the biggest arenas in the country armed with just an acoustic guitar didn’t seem to phase her at all. Such is the confidence in her material and her time on the road having brought and ability to tackle anything, Coulstock was able to sweep in and make it seem like you were sat in a front room, chatting with an old friend.

Not that there’s an old head on young shoulders, as here is a youthful and fresh talent ready to take on the world, her writing and delivery pitch perfect for such an occasion as this. Lively but without the abrasion that a band may have, this was a charm offensive that drew people in rather than hit them with a barrage of sound and light.

Mixing folky Americana with some pop (in the best meaning of the word) sensibilities, there’s a brightness here that has the power to light up rooms and the cross generational appeal of her material should see her continue to rise.

A savvy, stripped-back choice for an opening act, songs like the gloriously soaring drive of ‘Broken’ and an absolutely beautiful ‘The Riverside’ are enough to grab the attention and draw in usually casual listeners who’d normally spend their time in the bar rather than watching a support act. With the singalong charm of ‘Honkytonk Beer’ and irresistible hook of ‘Crazy Cowboy’ closing the set it was certain that here was someone with a very bright future indeed.

This was an evening to immerse yourself in great music and the headliners certainly brought their own magic, the years of experience and incomparable material proving that they’re still one of the greatest bands to ever come out of the country.

Accompanied onstage by the full swell of an orchestra onstage with them for most of the evening, the full power of what The Who are capable of was shown in both guises and each provided its own rush of pure adrenaline. Opening with a suite of songs from ‘Tommy’, this is how the album was meant to be heard, its cinematic sweep given added drama by the swelling strings, rumbling percussion and punchy brass.

‘Amazing Journey’, ‘Sparks’ and ‘We’re Not Gonna Take It’ are wonderfully heightened by the orchestra, the instrumentation adding some great layers to the overall sound and when they let loose on the fiery ‘Acid Queen’, sung by Townshend it’s wonderfully rough edged and dirty.

The first big singalong of the set comes after a roar of recognition of the urgent riff of ‘Pinball Wizard’ and a tantalisingly brief but gorgeous ‘See Me, Feel Me’ is a plaintive cry that still manages to raise goosebumps.

From ‘Tommy’ into more of their greatest hits as a propulsive ‘Who Are You’ still has the power to thrill before the orchestra leave the stage and it’s time for the band to unleash their own high decibel barrage.

The bright spark of ‘The Kids Are Alright’, ‘Anyway, Anyhow, Anywhere’ and ‘I Can’t Explain’ rolls back the years to those heady 60′s and ‘You Better, You Bet’ shows their mojo was still working fine in the 1980′s.

With a mighty punch, rhythm section Zak Starkey and Jon Button managed to truly capture the wild spirit of Keith Moon and John Entwistle on a feral ‘My Generation’ and it all sounds as vital as it did when first launched onto the world.

Whilst this was all highly impressive, the showstopping number of the night was a truly incendiary ‘Won’t Get Fooled Again’. The years have in no way diminished what is one of the greatest rock songs of the last century, its perfect structure and sense of dynamics still breathtaking.

Whilst never a note is wasted and everything from the instantly recognisable keyboard pattern, the mini drum solo and Townshend’s windmilling arm hitting the big chords is pure rock ‘n’ roll delight it’s the build up to THAT note the provides the most delicious tension.

Now, there may have been issues very occasionally in the past at times with Daltrey’s voice having suffered stress and strain singing these songs for decades but when he unleashes the truly ear shattering scream at the song’s peak it may be the best moment of vocal performance anyone will hear all year.

If ever proof was needed as to the potency of the band and in particular the partnership of the singer and guitarist, this was it, encapsulated in one jaw-dropping moment amongst one of the finest songs ever written.

Wisely picking a change of pace after that, lead violinist Katie Jacoby and lead cello player Audrey Snyder joined in for a pared down ‘Behind Blue Eyes’, the song having to be restarted due to an issue with Daltrey’s in ear monitors.

Whilst the lushness of this stripped back version was undiminished due to this restart, it did give the chance for the singer and guitarist to display some of the tension that has speckled their longstanding double act over the years, Townshend skilfully diffusing the tension by explaining that he’d somehow managed to put his boots on the wrong feet that morning, “I’m seventy-eight now you know!”.

With the return of the orchestra for a selection from ‘Quadrophenia’, ‘The Real Me’, ’5.15′ and ‘The Rock’ again hugely benefitted from the heightened grandeur of the orchestra, the latter accompanied by a career spanning video of world events.

A passionate ‘Love Reign O’er Me’ filled every inch of the hall before the apocalyptic ‘Baba O’Reilly’ brought things to a rousing close, Jacoby returning at the song’s climax to provide some furious playing on her violin. With Townshend and Daltrey returning for an acoustic ‘Tea And Theatre’ as the encore, it was the perfect end to an evening that displayed why The Who remain at the top of their game.

Aside from the bombast, when Townshend earlier reveals that he gets daily calls from old friend Elton John saying how much he appreciates every person at every show he’s currently doing, the guitarist saying he wholeheartedly understands and agrees.

It’s a sincere and touching moment from both legends, ego stripped aside and the focus on the communion between artist and audience who’ve come together to celebrate the music. Such things are truly timeless and The Who will doubtless continue to draw love and acclaim from many generations to come.

Review by Paul Monkhouse

Gig review (Badminton Estate, 16 July 2023)

Featured Artist: JOSH TAERK

Since early 2020 Josh has been entertaining us with exclusive monthly live sessions, streamed via Facebook.

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David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast on 24 November 2024.

UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). This show was first broadcast 26 November 2024.

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Power Plays w/c 9 December 2024

In this sequence we play ‘The Best of 2024′ GRTR! reviewer selections

Featured Albums w/c 9 December 2024

09:00-12:00 The Best of 2024 (Melodic Rock)
12:00-13:00 The Best of 2003-2024 (Melodic Hard Rock)
14:00-16:00 The Best of 2024 (Singer Songwriter)