Septuagenarian Wasteland: The Who stands the test of time at the SAP Center

Orchestral stadium rock and roll. As B-Side’s resident music major (and rockstar), when the opportunity to cover The Who Hits Back Tour was generously extended to our publication, I knew it was meant for me. Formed in the mid-60s, the band were a huge force in ‘The British Invasion,’ Tommy (1969) was the first album to be billed as a rock opera, “Baba O’Riley” is regularly cited as one of the greatest and most influential rock songs ever written, and in 1990 The Who was inducted into the Rock & Roll Hall of Fame for their pervasive influence on rock music. (There’s also the story of how, at 16, my mom dropped acid for the first time at a Who concert, but that’s neither here nor there).

The Who playing with full orchestra. Photo by Lily Ramus

Regardless, as an electric guitarist entangled in the music school world of classical theory, I knew I would appreciate the grandeur guaranteed by having a full orchestral accompaniment at a rock show. And yeah, there was of course the added benefit of seeing some of the most influential and celebrated musicians in rock and roll history. So on Monday, October 24th, I drove to the San Jose SAP Center to attend one of the final shows of The Who Hits Back, perhaps the last international tour the legendary band will play.

When the tour was announced, it was heavily criticized. Claims that The Who don’t need an orchestra and that it was time for Robert Daltrey and Pete Townshend to throw in the towel ran rampant. The lack of pre-Tommy songs upset many Who-purists and the question of whether Daltrey’s voice would hold up was a chief concern.

While I may not have been blessed to see The Who in their 60s-zenith, I can say with certainty that the critics and purists who stayed home missed one hell of a show.

The orchestra component was nothing short of incredible, and, as I found out after speaking with violinist Katie Jacoby, a logistical miracle. While the band tours with a few orchestral members (including Jacoby) and conductor Keith Levenson, each night they employ a different orchestra local to the city of the tour stop. The constant turnover of players and lack of substantial rehearsal time may seem like serious obstacles to the tour’s success, but the show went off without a hitch on Monday.

Despite playing in a stadium, which are notorious for their poor sound and overpriced tickets, the sound was exceptional. Jacoby described the orchestra as “another band member” and, after seeing the show, I agree wholeheartedly; the orchestra provided a rich and sumptuous backing to the band without overshadowing Townshend’s guitar or Daltrey’s voice. In fact, I would argue that the orchestra highlighted many of the ornate subtleties of Townshend’s compositions. The layered synth arpeggios and ostinatos present on Tommy and Quadrophenia (1973) shone through brilliantly with orchestral instrumentation.

Photo by Amanda J. Cain/ SAP Center

While the orchestra was an excellent display of opulence, Townshend and Daltrey, the two remaining original members of The Who, did not allow themselves to be overshadowed. Both in their late 70s, the duo proved any critics wrong with their performance on Monday. As he belted and even screamed at points, Daltrey’s voice was the furthest thing from geriatric, and Townshend is still windmilling on guitar (he is often credited with inventing the famous move, an icon of guitar showmanship).

The show was broken down into three sections. The band opened with six songs from Tommy, including “Overture,” “Pinball Wizard,” and “We’re Not Gonna Take It,” which featured the orchestra. This section of the night ended with a few hits from other albums such as, “Eminence Front” and “Who Are You,” an audience favorite. In the middle of the concert, the orchestra left the stage, and the band performed six songs alone. While I was sad to see the orchestra go, in this section the band proved that they still have what it takes to sonically suffuse a stadium without the orchestral accompaniment.

During “Behind Blue Eyes,” the band’s last solo song, violinist Katie Jacoby and cellist Audrey Snyder came back on stage to impart an elegant chamber music rendition of The Who classic. It was the perfect segue for the rest of the orchestra to come back to the stage, and the final part of the evening included five songs from Quadrophenia, with, of course, a “Baba O’Riley” closer.

Photo by Amanda J. Cain/ SAP Center

One highlight of the night for me was the orchestrated take on “Eminence Front.” The song’s vaguely psychedelic groove and uniquely layered instrumentation were well suited for the orchestral arrangement, and Townshend’s guitar and vocals still cut cleanly through the soundscape. While I also enjoyed the orchestral grandeur of “The Rock,” the video montage played on screen was puzzling and felt slightly tone deaf. The montage included clips from major world events from The Who’s lifetime, starting in the mid-60s and extending to the present. While I understood the concept, the sudden cut to some scenes (such the death of Princess Diana and the fall of the twin towers on 9/11) felt jarring, especially when paired with the seemingly celebratory and certainly epic orchestral backing of “The Rock.”

Regardless, “The Rock” and its accompanying video montage were a testament to The Who’s longevity, and a fitting final act to the evening. Having spoken to Jacoby the day prior, the violin solo at the end of “Baba O’Riley” was another highlight for me and an exciting end to the concert. The Who Hits Back was a fitting tour name, with Daltrey and Townshend landing a final blow against the inevitability of their own fading spotlight and evincing the youthful power of music.