Who am I to submit written statements regarding the experience of seeing this iconic band for the first time, from the perspective of my generation? A person with enough confidence to write a review, regardless of the fact that I had listened to none of their full length classics prior, yet devoid of enough arrogance to presume its merit.
I would be remiss to disregard the opening set of a band by the name of Arkells. I heard them once before at Firefly in 2016, far from the stage on its "Early Bird" night, and did not expect much from them at this set. While many of the concertgoers had their "Eyes on the Prize" of seeing the main event for the first, or even tenth, time I couldn't help but notice how claustrophobic the stage felt from where I was sitting. When in the company of a band of this esteem, it would be wise to up the ante, and though I have not kept up with the band, I can see they have, and they recruited a marvelous horn trio for those traces of Motown. It was through a local promoter and Townshend relation that had opportunity "Knocking at the Door." While I cannot speak for anyone other than myself and my father, who had complimented the band's vocalist, Max Kerman, and the band as a whole, they converted me to a believer, I would say the volume of the applause would suffice for agreement with that notion. The Arkells were appreciative not only of this occasion, but for the early arrival of (insert fandom name of the who here), and the crowd could say the same
So the debate as to review or not also was due to the fact that fans, and even those casually interested members curious as to what they might have missed on this tour, may expect a higher caliber critique, and then there goes the dreaded initiation of the recollection, from what angle shall it be approached?
While I was cognizant of the general synopsis of their first major concept album, Tommy, this was the first time hearing the exploits of the pinball wizard, and not just in its current orchestral accompaniment context. The first five songs were played in exact succession to the original album, while skipping a few songs each to play "Pinball Wizard," and "We're Not Gonna Take It!" I remember at one point in the first segment of the set laughing and grinning not only out of enjoyment, but due to the sheer grandiosity, and to the chagrin of others, nonsense of it all.
I went back and listened to the original recordings to decipher which tune brought out that involuntary exclamation, but to no avail. With the inclusion of the orchestra, they took creative liberty and advantage of this opportunity with some of the numbers; the previously mentioned puzzle was an example.
While each concertgoer had their own specific requests on the roster of their wishlists for this performance, there are some safe bets. "Who Are You" was one of them, and I agree with Buffalo News' Jeff Miers in stating that it was "... the set's first high point."
At one point Daltrey had remarked how beautiful it can be when members of both sides of the stage "Join Together" and revel in the power of music, and what followed was a perfect example; to which Roger had praised the crowd for their accompaniment. "Eminence Front" off the appropriately titled album was another highlight, because it can be hard to express the emotions aroused from a certain selection and the enjoyment it brings; the song , but is not riddled with a presumed superiority.
While I was not disheartened by the absence of "My Generation" on their set, I did find it peculiar that it was not chosen, and another song off that album was played, but at least "The Kids Are Alright." The latter of which was the first tune in the orchestra's intermission, and while it was an acceptable replacement, the tone might not have hit as hard with an acoustic; simultaneously, there is no substitute for an acoustic guitar and its impact on the emotions of listeners, when it comes to a song like "Behind Blue Eyes." It was on the roster of my own wishlist and brought a smile to my face.While this may contaminate any credibility I may have, I still find the Limp Bizkit Edit a little more effective in beckoning those tears or the inclination to cry, but it is not better than the original
The first seven silver balls served as a reminder that orchestra and angst may not always agree with our ears, but it was not without respect being earned, after an arduous affair akin to the multi-ball feature on the machine inspired by the album, Tommy, and its cinematic accompaniment.
It goes without saying that the band's performance was exceptional, and when the orchestra realigned with who we came to see after the acoustic intermission with the Daltrey-Townshend Duo, they redeemed themselves. You may begin on a bad note, but tis much better than leaving with one, and what better way to end the set with not only of a suite from the album Townshend hails as " the last great Who album," but an iconic track that my father simply refers to as "Teeeenaaage Wastelaaand" in sing song manner?
This band is another testament to the power of rock, and music in general, and its ability to enrich the longevity of a youthful spirit. I could hear Townshend playing with a tenacity and ferocity that dated back to some of the initial recordings of the selections from Quadrophrenia, and earlier. I am still blown away by Daltrey, and the fact that at 75 he can still hit those notes with an equitable energy, especially the final howl heard in "Love Reign O'er Me," and respect simultaneously followed. The answer as to how is by practice, he made the analogy to a car's engine and stated "If I stopped singing at the age I am now, I would lose my voice within two years. So I've gotta keep it going." While praising the band backing the final two original members of the band may appear anti-climactic, the talents of Simon Townshend, Loren Gold, Jon Button, Billy Nichols, and Katie Jacoby must be commended. While the drummer may oft be forgotten when it comes to recognition, Moon's legacy lives on. He may have passed on, but that energy is still vibrant, and Starkey may be no Moon, but his performance shone bright that night.
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