What does it sound like?:
The Who are currently a very professional eight piece band: Jody Linscott percussion, Simon Townshend guitar, vocals, mandolin, Loren Gold keyboards, backing vocals, Scott Devours drums, Jon Button bass, John Hogg backing vocals, percussion, plus, of course, octogenarians Pete Townshend guitar, vocals and Roger Daltrey vocals. The two original members are acutely aware of the passing of time and the diminution of their powers. Townshend’s energy is not what it was and his fingers are less dexterous over the guitar strings but the support of his younger brother, aged just 65, enables him to recreate the sound of a power trio. Daltrey’s vocal chords require a special care regime and with particular attention to pacing himself, he can hit the high notes. This is a polished and precise Who, very far from the wild excesses of the past, but it still plays songs of high emotion and inner turmoil that cannot be contained.
Townshend has been critical of The Rolling Stones failure to evolve since their heyday but it’s fifty years since The Who attempted anything innovative. Live, there is zero chance of them recapturing the stunning dynamism of their sixties singles but, here in Cornwall, is the culmination of an experiment to match the grandeur of their rock operas by performing with a full orchestra, on this occasion The Heart Of England Philharmonic. Daltrey performed Tommy with an orchestra in 2019. The Who’s Moving On tour that year involved them visiting various cities giving the local orchestra a few days to rehearse a wider range of The Who’s catalogue, especially Quadrophenia. Eden follows a Live At Wembley CD/vinyl/Blu-Ray release in 2023 recorded from that tour of 2019. Eden is meant to be an upgrade on Wembley. The big question is if it is an upgrade in quality.
The opening has the orchestra on home turf with a grand and captivating Overture from Tommy. 1921, Amazing Journey and Sparks keep up the momentum and both singers sound confident. The problems start with a tense and shouty Acid Queen and continue for Pinball Wizard and We’re Not Gonna Take It. Tommy was always an uncomfortable listen with its weird sexual overtones and it hasn’t got any better when sung by old men, even when backed by a full orchestra whose horn section is outstanding. The orchestra take a break while The Who revisit their singles of the sixties, exposing the vocals to closer scrutiny. Devours is a fabulous drummer and Button an excellent bassist but on these selections you can hear Devours’ tight biceps and Button’s muscular fingers. They cannot match the fluidity and seat-of-the-pants edge-of-chaos of Keith Moon and John Entwistle. The Kids Are Alright is terrible. At least it’s mercifully short. However, just after we get past the ridiculousness of My Generation and we are beginning to lose all hope, Daltrey relaxes on Cry If You Want, from 1982’s It’s Hard, a song that gives him permission to be vulnerable. It turns out to be a medley and acts as a reflection on his generation, the one that did not die young but lost friends and colleagues along the way, giving a completely different perspective on his brash, care-free youth. Suddenly, the whole concert is transformed. Won’t Get Fooled Again, such a colossal song, still relevant, still in the present tense, is stunning, Daltrey’s scream towards the end equalling the original from 1971 and Behind Blue Eyes is gorgeous with a cello and violin.
As Townshend points out, the orchestra is particularly magnificent on their return for excerpts from Quadrophrenia. The whole band are galvanised. Quadrophrenia can be stodgy and claustrophobic but the addition of a whole orchestra brings life and colour. Townshend is inspired enough to deliver his finest vocal for decades on I’m One. Daltrey’s vocals are astonishing, regardless of age, a masterclass of controlled power, roaring through The Real Me and culminating in a majestic, spine-tingling Love, Reign O’er Me. If My Generation is their most iconic, Won’t Get Fooled Again their best known, Love, Reign O’er Me is their most enduring, the song that continues to sound better each time it’s played, and this may be its finest rendition. The large crowd is clearly awestruck. Baba O’Riley at the end sounds puny in comparison.
Who would have thought they were capable of something as miraculous as this? Townshend was sceptical of the idea of using an orchestra but he sounds delighted with the result, with good reason. It has certainly rejuvenated his comrade in arms, almost literally. Daltrey looks and sounds like a much younger man. It’s also reinvigorated The Who. A mere seven years after their last studio album, Who, when Daltrey and Townshend recorded separately, the gang, such as it is, is back together laying down new material.
What does it all *mean*?
The Who should play with an orchestra all the time. Compared to Wembley, Eden is a much better constructed concert: Tommy, hit singles, Quadrophrenia: and captures better performances.
Goes well with…
Creaking knees, tinnitus and a dreadful feeling that time is accelerating.
Release Date:
29/05/2026
Might suit people who like…
Classic Rock Music
You Better You Bet
I didn’t realise they’d moved on to using electric drums (I think) and cymbals (definitely). I presume this is so Pete doesn’t have to have his hearing damaged any further.
Always a great analysis, Tigs! I have little interest in them after “Quadrophrenia”, tbh. That was a peak they would never again touch, and now it’s a pension plan.
There is a special place in my heart for By Numbers. They have released very few albums since then. There isn’t as much fire in the songwriting belly nor in the rhythm section. However, their last album is pretty good all things considered and it’ll be interesting to hear a new album. Comparing it to the Stones new one should be fun.
Good to see discussion about the later period of a seminal band. Too easy to just write bands off post pomp.
Especially how they manage live performances.
Currently? They are done aren’t they?
I had a ticket to see them a few years ago in Toronto, ticket sales were pretty slow, show was postponed and I couldn’t make the re-scheduled date. Then there was a final chance last year same city, but ticket prices were ridiculous and I opted to see Neil Young instead at the same venue (a big amphitheater next to Lake Ontario) as 2 such visits would be prohibitively expensive. I am happy with my decision
Means last time I saw them was 2012 doing Quadrophrenia in full (with a few extra hits), Simon Townshend was there and the brilliant Zak Starkey on drums, was a memorable and enjoyable evening
* and the scream on Won’t Get Fooled Again has been a recording for a while
Are you telling me The Who are finished as a group? And that Daltrey mimes his vocals?
😲
Well it was a farewell tour last year, but Daltrey is touring US solo later this year (with much of the same band). There have been “final” tours before though.
He mimes that scream, maybe one or two other high notes e.g in Love Reign … , but I am not certain about that
The insincerity of such tropes in “authentic” bands surely leads some artists to hate themselves. I’ve noticed it a bit in a number of acts I’ve watched on YT recently. I dare say it’s been going on for years.. ( someone said Charlie Watts’s drum intro to “Honky Tonk Women” was a sample back in 1990). I don’t mind it when they are using taped / sampled special effects. It’s the faking of actual playing and singing. I’d like it to be done. By the performer. And if they have extra musicians involved, please show them. I understand Motley Crue might as well be the holographic Abba show now, the way they cheat with technology.
Yeah and Roger Waters mimed a lot of his vocals on recent tours, even if some here refuse to believe it 😉
(Don’t believe Charlie would be reduced to such trickery though!)
It’s interesting that the scream and Love vocals are different on Eden compared to Wembley, Wembley being less good.
😐
Well, Eden was three years ago, a year before he said that.
I’m sure they sound great but, to be honest, I’m not that comfortable with the notion of a ‘professional’ Who. I kind of like the shambolic glory of their earlier, original- and (at least superficially) chaotic incarnation.
I have a great deal of sympathy for this point of view. But, they could never replicate the beast they once were.
Fascinating review, Tigger. A Tale of Two Whos.
The unexpected way in which that wild, shambolic, edgy four-piece has morphed into a highly professional, well-rehearsed band plus orchestra is a story worthy of Dr Who. Or even a play by Shakespeare: THE TAMING OF THE WHO.
I’ve seen a few clips and some of the songs do sound magnificent with a lush orchestral arrangement. But maybe they should change the name of their combo?
So three cheers for THE NEW WHO, THE BLUE WHO, THE TRUE WHO, THE ZOO WHO, THE WOO HOO.
I’m getting woozy from all these WHOSIES.
I think the last time I saw them was at the RAH on the 50th anniversary jaunt…so 2015..? They were ridiculously good. I have probably seen them more than any other major band, the first time being 1965, and I love them to bits, despite Daltrey’s latter day opinions and Townsend’s grumpiness. I have no end of live albums by them….do I need this? Despite Tigg’s excellently written review, and I may give it a whirl on Spotty, it’s not essential I feel.
2015 was the last time I was them, too. They were always a superb live act, better than The Stones, in my view.
Make sure you hear the Quadrophenia songs from Eden. I think you’ll enjoy them.
At their peak 1970 or so probably one of the best live acts ever, but that was not the same band. I wouldn’t say better than The Stones, different. Not sure why one has to be considered “better”. Both were/are very good
I enjoyed Who concerts more than Stones, three times out of three.
I’m not in your league for major gig going. 😀