The Who Look Back On ‘Tommy,’ ‘Quadrophenia’ During ‘Hits Back’ Stop In Chicago

“You know when you’re at a party and some old man dances?” mused Pete Townshend on stage Wednesday night in Chicago, poking a little fun following a shimmy as he set up The Who’s “Another Tricky Day.” “When I dance, it actually looks quite good!”

Townshend was affable and entertaining over the course of more than two hours at United Center, night five of the fall leg of The Who’s North American “The Who Hits Back!” tour.

What started as an idea the guitarist was loath to embrace on opening night in Grand Rapids, Michigan in May 2019 has grown to become one he seems to genuinely appreciate and indulge in. As they make their way across America, heading west into early November, The Who are once again backed by a 48 piece local orchestra in each city, as well as touring soloists Katie Jacoby and Audrey Snyder on violin and cello.

Under the continued direction of conductor Keith Levenson – and at times Townshend as well – The Who are opening the show alongside the orchestral ensemble in celebration of the group’s 1969 rock opera Tommy, slimming things down midway through before returning to the orchestra for a look back at 1973’s Quadrophenia to close the show.

Wednesday night in Chicago, clarinet and flute kicked off “Amazing Journey,” Townshend almost hopping in place as his brother Simon Townshend accompanied singer Roger Daltrey and backing vocalist Billy Nicholls. Daltrey picked up a pair of tambourines as “Amazing Journey” meandered toward “Sparks,” sunglasses on as Townshend unleashed an early windmill.

Backed by the full orchestra, drummer Zak Starkey shined early on “Pinball Wizard,” strings soon dominating a soaring rendition of “We’re not Gonna Take It.”

“If you enjoyed that, the Broadway Tommy is coming back to Chicago next June at the Goodman Theatre,” said Townshend at the completion of the album suite, noting the return of the stage production to the Windy City for a month-long engagement next summer.

Breaking out of the album, Daltrey, in a departure from the norm, opted for electric guitar as Townshend crouched for an early solo, trombones putting a unique spin on one of music’s most rocking moments in “Who Are You.”

Starkey leaned right, sharing a laugh amidst conversation with bassist Jon Button, playing throughout “Eminence Front.” A violin flourish proved to be a highlight in the early moments of the song, Townshend seeming to improv an almost scat-like jazz lead vocal.

“In 2019, before the pandemic and all of that s–t, we went into the studio,” said the guitarist, explaining the origins of the group’s fine twelfth studio album Who, setting up “Ball and Chain.” “It’s hard to beat the material that we did when we were 12. But we had a go.”

Daltrey, 78, vastly exceeded all expectations, in fine vocal form throughout, singing as if his life depended on it during “Join Together.”

“This amazing orchestra with us takes a break now. They work a lot harder than we do. Well, harder than I do,” said Townshend with a nod in Daltrey’s direction, kicking off a Who band set with “Relay.”

During recent tours, Daltrey and Townshend performed “Won’t Get Fooled Again” as an acoustic duo, but they returned the legendary cut to its full rock glory on stage Wednesday night, Townshend windmilling the song to completion. Jacoby and Snyder embellished a gorgeous, primarily acoustic take on “Behind Blue Eyes” next, Townshend sitting down to pick at an acoustic.

Despite big shoes to fill, Button nevertheless continues to shine on “The Real Me,” making John Entwistle’s bass showcase his own, strings driving forth the performance as the orchestra made its way back to the stage Wednesday night.

Daltrey put forth a call and response vocal part as the ensemble jammed out the ending on “5:15,” the show reaching its unquestionable high point in a horn-driven frenzy as the band stretched out on “The Rock” immediately following.

“What’s so interesting is that every now and again, we get an orchestra that knows how to rock,” said Townshend of the Chicago collective. “This is one of them.”

Keyboard players Loren Gold and Emily Marshall sparkled early as Daltrey reached higher and higher on the always stunning vocal piece that is “Love Reign O’er Me.” Townshend turned back and to his right, giving a thumbs up to the orchestra after doing a little conducting of his own, Jacoby’s fiddle soon driving “Baba O’Riley” in the show’s final moments.

“Chicago… I just love this idea of a big city right beside a big f—ing lake,” said Townshend, 77, on stage Wednesday night. “I hope we’ll be back.”

Beautiful three part harmonies were on display to open the show as the Steven Page Trio performed on stage in Chicago, their final night as opening act with former Heartbreakers guitarist Mike Campbell and his band The Dirty Knobs set to take over tonight in St. Louis.

“So you may be wondering to yourself or out loud, ‘Is that the guy who used to be in Barenaked Ladies?’” joked Page on stage at United Center. “It is! It’s me!”

Singer on some of the group’s biggest hits, Page kicked off with BNL’s “It’s all Been Done,” backed by Craig Northey, of Canadian alt rock group Odds, on electric guitar and cellist Kevin Fox.

Page’s acoustic playing stood out on “Jane” with “The Golden Age of Doubling Down,” from his latest solo album, the brand new Excelsior, a highlight next.

Low cello carried the Barenaked Ladies standout “The Old Apartment” as Page unleashed rock star jumps and kicks, strumming like mad at the front of the stage during a gorgeous rendition of “Brian Wilson” to close out the group’s 40 minute set.

“Thank you very much. It’s amazing being back in Chicago,” said Page following the trio’s performance. “I want to thank The Who for inviting us to do these shows. We’ve watched every show from the side of the stage. We’ll miss watching them every night. Happy trails.”