Legendary singer Roger Daltrey has announced new summer concert appearances for 2025, when he will perform different takes on classic The Who songs and solo hits.

Accompanied by his incredible 9-piece band, the singer will play TK Maxx presents Live at the Piece Hall, Halifax, on Wednesday, 30th July, and Margate Summer Series at Dreamland on Friday, 8th August. Tickets go on sale on Friday 6th December for the latest shows by one of rock’s most famous voices.

The news follows the announcement of a solo tour in April and May with his acclaimed group, made up of regular The Who collaborator Simon Townshend (guitar/ vocals) alongside John Hogg (bass), Doug Boyle (guitar), Steve Weston (harmonica), Jody Linscott (percussion), Billy Nicholls (BV), Katie Jacoby (violin), Geraint Watkins (keyboard) and Scott Devours (drums).

Roger says: “Here we go again! After touring the US with this band of phenomenal musicians, I
can’t wait to get back on the road in the UK with these shows. It’s a joy to be on stage performing and sharing familiar songs in an unfamiliar way.”

I often read that people identify Pete Townshend as a songwriter that wrote about and understood the emotions and angst of teenagers, but besides some of the early stuff like "My Generation" and then of course "Quadrophenia" what exactly are examples of this, because I cannot really think of much else.

On songs where there are The Who do harmonies, who does the high part? I am thinking specifically of a background vocal part from the song "Welcome" off of Tommy...after the the "Come to this house, be one of the comfortable people" there is this high "Ohhh wooo ooooh"...is that Townshend or Entwistle doing that?

1973 I think

It all belongs to me, you know

I haven't listened to Quadrophenia in forever, listening now as I rake leaves with my decent pair of noise cancelling earbuds. I never noticed this on this album but buried in the left channel I keep hearing Keith yell as he goes for tom fills. It's most prominent in The Dirty Jobs if you listen in on those rolls between Roger's lines in the chorus ("I'm getting pushed round!" "YAHHHHHHH"). I've only ever noticed this on Tommy played super loud through nice studio headphones, there's a tom fill on I think Acid Queen where you just hear him belt a "YEEAAOOHHHHH" but again it's buried. Also at 3:34 in Dirty Jobs (or at least whatever mix was given to Spotify for the deluxe edition) there seems to be a quick tape speed hiccup or perhaps an edit where the tape got stretched a bit. When it transitions to the quieter part there's a little glitch and overall pitch of everything drops a bit and wavers.

Just random little details I've never noticed before. Love this sort of stuff.

https://www.youtube.com/watch?v=M8hxUypxp5s

Enjoy , brightened my day 👌👌

Hi there!

Ever since I discovered this clip of The Who (The High Numbers at the time) Live in 1964 covering the song Ooh Poo Pah Doo, I've become obsessed with trying to learn it on guitar, there's practically no tabs online for it and I was wondering if anyone could help me out with deciphering the way pete is playing it?

Thanks!

https://youtu.be/H2OD5D3WZqc

https://reddit.com/link/1h2c9g4/video/4e50riklar3e1/player

Skip to 00:15 if you're impatient and don't want the entire scary maze game level 3 experience

I made this like 1.5(?) years ago and I don't think I've posted it to reddit yet.... Although I posted it on Discord and my Horrible YouTube channel, so some of you unfortunate souls may have seen it already

Anyone remember Roger in an episode of The Bill? He was a very good actor

I've been listening to all the tracks meant for the lifehouse album for months to see if i could assemble a real 2lp tracklist (as was initially intended). if you want to see a 3 LP version, i'd be up for the challenge in the future, but here's my tracklist and story (some tracks got edited down a little to fit the confines of a 22 minute side of a record, and you could say i cheated since i used material from 78' and beyond, but it works so idc. The only changes that i can be swayed on is swapping the order of Too Much Of Anything, and Love Ain't For Keeping):

(YouTube Links so you can go listen to it)

Side 1: https://www.youtube.com/watch?v=4N5JB_xsXZw

One Note - Prologue

Pure and Easy

Baba O'Riley

Going Mobile

Too Much Of Anything

Love Ain't For Keeping

Side 2: https://www.youtube.com/watch?v=nRLNSBMERqI

Put The Money Down

Greyhound Girl

Bargain

Water

Baba M2 (Movement 2)

Relay

Side 3: https://www.youtube.com/watch?v=z1hKAU1SDAs

Getting In Tune

Let's See Action

Naked Eye

Who Are You

Behind Blue Eyes

Side 4: https://www.youtube.com/watch?v=Ekv7XgD8EAU

One Note - Interlude

Join Together

Won't Get Fooled Again

The Song Is Over

One Note - Epilogue

Story:

In the future all people live a spoon-fed life in suits after global warming and other catastrophe's made living in most places on earth toxic otherwise. We get introduced to the theme of music being able to unite us and some of the background of the world as narrated by Bobby on "Pure and Easy". Then we jump to a middle aged farmer who lives out in the country far enough from the city to not need a suit. He talks a little about himself and then gathers himself and his wife to go to the city to look for their daughter who ran away (Baba O'Riley). Then they load up in mobile home fitted with an A/C unit that they try to use to filter out the pollution of the city (Going Mobile). As an older man himself, the farmer has time to reflect on his life and what he's seen, heard, felt, and touched. He sees the excess of the city and see's it all as too much and he's not a fan of it (too Much of Anything) this song could also double as Bobby talking to the people about that same excess, so choose your pick). Then side 1 closes with the famer lamenting the loss of his daughter as he and his wife are laying in a park while resting at a rest stop.

We jump to the city now and have the first lifehouse show (Put The Money Down), and the song mentions walking on water as a metaphor for the supernatural act of taking peoples "notes" and making music out of them, as well as a motif that appears later. After the show and all the lights are gone, Bobby sings a song about Mary (who he's in a relationship with, but is a little estranged from) on "Greyhound Girl" about his love for her. The father finally arrives in the city and is desperately devoted to find his daughter (Bargain). He finds her at the lifehouse during another show hence the lyric "i've seen your daughter at the oasis, and i'm beginning to blister". on "Water". We then sidestep the story a little bit to address the technology of "The Grid". "Baba M2" is the musical equivalent of joining into the grid and being transported all around computers and all the tech in the suits. Then "Relay" comes in to fully describe it, closing out side 2 and disc 1.

We then get a piano number sang by bobby to the lifehouse crowd about 'Getting In Tune" to the real world and not the fake world of the grid. as the song goes on he comes to the realization that Mary is what helped in to get in tune with the real world, as thier relationship was an in-person and tangable thing. He then vows to find her and restore their relationship, as that's what matters to him now. We jump to another lifehouse show and on and Bobby has a call to arms with "Let's See Action", then speaks on how vapid the life they live in the grid is; with milk and honey on command, the freedom of driving a car, and the power of holding a gun and how it means nothing, despite being attractive to the 'Naked Eye". People start to wake up to reality and start questioning the system they live in that was put in place by "Jumbo". the people roar and demand change and ask their leaders "Who Are You" as a rallying cry of the people. Jumbo then responds with a song trying to get people to sympathize with him and his situation on "Behind Blue Eyes", but it's to little avail.

Jumbo realizes that they are getting too powerful and goes with his men to shut down the lifehouse. Everyone inside holds them off while the music on stage is calling the people in attendance to "Join Together" and add their note to the song. they do and this causes a supernatural field to form around the lifehouse. they rock out with one last grand song where all their notes combine together on "Won't Get Fooled Again", and as the song ends, the lifehouse falls silent, and the field is gone. Jumbo and his men rush in to find everyone has vanished. "The Song is Over", it's all behind them now. they have all transcended to the next plane, of existence but Bobby laments that Mary isn't there with him. She then sings about what happened and how she'll spread the message and "sing [the] song to the wide open spaces", and "sing [her] heart out to the infinite sea", and even "to the sky high mountain[s]", thus singing to the free. The album then ends similar to how it began in narration about music and the notes before ending with "One note is best".

If there are any gaps, or things that i got wrong let me know. but i'm really glad how this turned out. Hope you all Who fans enjoy it!

Excepting Athena, Eminence Front and You Better You Bet

Well I guess it's his now

I have a sealed copy of The Who Sell Out. It appears to be an earlier pressing with one of the corners cut (cut-out). Is there a way to tell if it is an original pressing or a reissue by the cover? I've looked on Discogs and I've seen the same cover with both Decca and MCA labels.