A NIGHT AT THE ALBERT HALL
I decided to take a day off because tonight something special is happening. The Who are playing their iconic album Tommy in its entirety for the first time since their '89 reunion tour, and guess where? The prestigious Albert Hall. Now, I must admit that Tommy has never been my favorite work by the band. Personally, I feel it emphasizes the dark story Pete tells without capturing the overwhelming power of John Entwistle and Keith Moon, who defined The Who as one of the most explosive live acts in rock history. They were a band of four leaders, like Dalí would say with his characteristic nonchalance, "four geniuses of the first world order."
That's why I've always gravitated towards works like Who's Next or Quadrophenia. Nevertheless, I can't deny that Tommy left an indelible mark on the history of rock—a rock opera conceptualized by Pete Townshend in 1969. It solidified their status as a reference in the music world, alongside their Live At Leeds album and their iconic Isle of Wight film.
Before heading to the concert, I make a quick stop at the Chiltern Firehouse for a cocktail—a restless tequila. I can't resist discussing it with Michele, who not only crafts top-notch international cocktails in one of the trendiest spots in town but is also a music enthusiast. We digress for a while, reminiscing about the music of the '70s—Led Zeppelin, The Who, and the legendary story of Pink Floyd firing cannons inside the Albert Hall during one of their concerts, shaking the very structure of the building and subsequently being banned from performing there for life.
As I approach the Royal Albert Hall, I can't help but feel a sense of occasion that I don't experience with the brutalist architecture of the Barbican Centre or the modernism of the Royal Festival Hall, at least not in the same way.
Imelda May takes the stage first. She seems to have ventured into a slightly more popular soul/jazz sound, a move that has drawn criticism from some, but personally, I don't mind it. And then, the screens come alive, signaling the imminent arrival of The Who.
They kick off with Tommy right from the start. Pete Townshend launches into "Overture" and "It's A Boy," showcasing his trademark windmill guitar strokes. From that moment on, there's no rest for anyone. Pete dominates the night, playing with the band, throwing unexpected chord changes and solos, effortlessly displaying the simplicity of someone who can do whatever he wants at any given moment. He even dresses differently tonight, sporting a T-shirt, jeans, and prescription glasses to read the repertoire from his music stand—a repertoire he's probably not accustomed to playing.
At the beginning of the show, Roger Daltrey announces that they will perform the iconic work with electric guitars instead of acoustics, contrary to what was previously rumored. He states, "After weeks of rehearsals, we realized it didn't work the way we intended." Pete chimes in, "It'll be much better this way. I brought my red guitar from home," referring to his electric Fender Stratocaster. Music to my ears because, as I mentioned earlier, I prefer their more "brutal" and "sonorous" version.
Zak Starkey deserves special mention. Following in the footsteps of Keith Moon is no easy task, but Zak on drums seems to have found the right balance. He brings his own style while maintaining a strong stylistic and sonic resemblance to Moon.
Now, the bass player is a different story altogether. John Entwistle is simply irreplaceable.
They close Tommy with a powerful rendition of "We're Not Gonna Take It," leaving the audience on their