The Who Persevere Despite Technical Issues As Farewell Tour Continues

“I don’t do many opening gigs,” joked blues guitarist Joe Bonamassa on stage in Chicago earlier this month, midway through a supporting set on stage at United Center. “I’ve been doing shows my whole life. But when they offered me this show, I said, ‘When my career ends, I can say two things: I played on stage with Eric Clapton and I opened for The Who.’”
Amidst a North American tour which resumes tomorrow night with a pair of shows in Los Angeles at the famed Hollywood Bowl, part of a run set to wrap up Sunday, September 28, 2025 at the MGM Grand Garden Arena in Las Vegas, The Who appeared in Chicago last week alongside Bonamassa as part of their “The Song Is Over” farewell tour.
“Well, Chicago is one of our favorite cities in the world,” said guitarist Pete Townshend early in the evening. “Chicago… what a wonderful town,” mused singer Roger Daltrey in agreement.
Since forming in 1964, The Who have moved more than 100 million records globally, developing a virtually unparalleled reputation as one of rock’s all time great live acts.
With drummer Keith Moon famously blowing up his drumkit at the conclusion of a televised performance on The Smothers Brothers Comedy Hour in 1966, The Who quickly developed renown as explosive live performers.
Prior to that, Townshend had already smashed a guitar on stage, with fans beginning to expect the unexpected from the group’s incendiary live sets, the rare band who could take their performance to the brink, dabbling in the rebellious while seemingly able to keep the train from veering off the tracks and into a ravine, even if occasionally barely so.
Last Sunday’s set in Chicago proved that even more than six decades in, Daltrey, 81, and Townshend, 80, are still able to reach that gear.
“My guitar was definitely going on and off,” said Townshend on stage annoyed, referencing early technical problems. “But since I’ve thrown it across the floor, it seems better.”
That wasn’t hyperbole. “Who Are You,” arguably one of the group’s most potent live cuts - if not in the history of the entire rock genre - came third in the set. But Townshend’s guitar and microphone cut in and out throughout.
Waving frantically on stage as he sought attention from the soundboard, Townshend tried everything, swapping guitars as he headed off stage twice. Back in time for a late solo, he ripped away as Daltrey wailed. The frontman chipped in on a Fender Telecaster of his own during the early issues, with Townshend eventually playing out the performance, seemingly making up for lost time.
It may have been the first technical issue of the evening - but it wasn’t the last. The Who were having one of those nights.
And it happened to be one which fell 47 years to the day of Moon’s infamous death on September 7, 1978.
Townshend recalled performing in Chicago at a small club turned roller rink called the Kinetic Playground, 1969 performances with a particularly special opening act.
“One of the best shows we did was at the Chicago Electric [Theater],” said Townshend during the look back, referencing the now defunct venue which changed its name to the Kinetic Playground shortly after opening. “Buddy Rich Group supported us at the Kinetic [Playground],” explained the guitarist. “Afterwards, [Rich] had a great and intimate conversation with Keith Moon. And I said to him, ‘Do you think Keith is a good drummer?’ And he said, ‘He’s a good drummer,’” recalled the guitarist during the moving moment. “There’ll never be another - thank goodness,” added Daltrey of his bandmate and friend, shaking his head. “The only problem was he was a good drummer, not a good liver. He died too soon,” said Townshend. “We miss him.”
In quintessential Who fashion, the Chicago performance lived up to the band’s live standing. Daltrey and Townshend traded quips throughout the evening and one could never quite tell whether the repartee was being exchanged in jest - or in vitriolic fashion. But one thing was clear: this was a show taking place live and in the moment without a backing track. A live set dripping in authenticity, the Chicago performance took place without a net, more than serving the group’s vaunted legacy regardless of the occasional hiccup. And it was better for it.
Daltrey wasn’t immune to the problems, clearly battling monitor issues in the early goings, struggling as the group revisited 1969’s Tommy by moving deftly from “Pinball Wizard” to “See Me, Feel Me.”
“I can’t sing over this!” said the frontman, who’s long battled increasingly problematic hearing issues. “It’s like singing into a tin can,” said Daltrey, clearly frustrated. “I can’t do what you do, Rodge,” said Townshend in reply, acknowledging the unavoidable. “Is there anything we need to do, Rodge?”
Five of the seven voices on stage sparkled throughout “Long Live Rock,” with new drummer Scott Devours - who takes over on this run following nearly 30 years behind the kit for Zak Starkey, who was fired, rehired and fired again during a May fiasco - strong on the cut.
Townshend pointed right at his brother Simon, who delivered the acoustic opening to “Pinball Wizard," later turning “Going Mobile” into a virtual solo showcase.
Sitting down with an acoustic, the guitarist turned back and to his right, cueing the band at the top of a take on “Behind Blue Eyes” which proved to be a particularly effective melding of the on stage voices.
“Don’t worry, we won’t die,” said Townshend dryly prior to “Behind Blue Eyes.” “We’re saving that for Philadelphia,” he joked.
Townshend let loose with a blast of distorted guitar as keyboard player Loren Gold played in one of the evening’s highlights. Pete, Simon and Daltrey all added electric guitar as The Who tore through a raucous take on “Eminence Front.”
“Back when we were children, we stopped playing this song - because we thought we were too old,” explained Townshend with a smile, introducing “My Generation.” “Didn’t wanna break anymore guitars,” retorted Daltrey to audience amusement. “Whatever you said there, Roger, I’m sure it was very funny,” said Townshend, turning to his right to face the singer.
Townshend played in “My Generation” but stopped quickly, glancing at Daltrey. “I played it in the key we used to play it in in 1968. Let’s start it again,” he said.
Almost skipping back towards the drumkit, Townshend came racing back to the mic ahead of a bluesy late interlude on stage in the Windy City, the home of the electrified artform.
With Simon’s acoustic guitar up front, Daltrey moved to his right, seemingly more comfortable as the band delivered “You Better You Bet.”
“You guys alright?” asked Townshend rhetorically of the Chicago crowd. “You want your money back?” he continued. “I f–ing would.”
The guitarist restarted “I’m One” too but the band was firing on all cylinders moments later, tearing through “5:15” with Daltrey swinging his mic in inimitable fashion, shining on the Quadrophenia standout.
Pete unleashed a trademark windmill with the crowd soon clapping along during “Won’t Get Fooled Again” as Daltrey geared up for the song’s crescendo, unleashing a plaintive wail.
The live violin of longtime colleague Katie Jacoby, coupled with Daltrey’s harmonica playing, turned “Baba O’Riley” into an on stage hootenanny, a late high spot. “It has occurred to me that on a night where we continually f–k things up, you should pay extra,” said Townshend with a smile in jest.
The bass of Jon Button bumped along as The Who picked up the pace a bit during a unique take on “The Song is Over,” with dueling percussion on full display as the Chicago show entered its final moments.
With the band departing, the spotlight was on Daltrey and Townshend as the duo sought to close the show with an acoustic take on “Tea & Theatre.” As a microphone fell to the stage, landing loudly with a thud just prior to the song’s start, Daltrey didn’t skip a beat: “Not the only thing that’s fallen off,” cracked the singer.
Recent U.S. tours found the mighty Who backed in each market by a symphony orchestra, nearly perfect performances that left little room for improvisation, banter or general rock and roll attitude.
This Chicago show wasn’t that.
But, in a weird way, it functioned as a more fitting farewell, conjuring up images of the band’s chaotic history while delivering at an times moving, but always spirited, live performance.
Rock and roll is at its best when it’s unpredictable. And, in an era of live performance devoid of authentic on stage moments, this show delivered in spades.
“We so appreciate you guys coming out to see us this time around,” said Townshend midway through the Chicago concert. “Roger and I may appear in Chicago one day again - but not as The Who,” said the guitarist. “Thank you very much,” added Daltrey to close the show. “It was great to see you one last time,” he said. “Goodnight.”