Sunrise FL Poster



[shop.thewho.com]

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Setlist, August 16

[www.setlist.fm]



Edited 2 time(s). Last edit at 2025-08-18 21:28 by bye bye johnny.

I'd like the poster more without the busy border. Anyhow, hope it's a good concert. Can't wait to hear the reviews.

Multiple Cities

$36 & up—The Who: North American tour

The Who



Catch one of the greatest bands of all time on its farewell tour of North America.

[www.travelzoo.com]

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Should have put this offer out weeks ago...

Looks like a great setlist for night one. I hope T&T stays in by the time I see them.

sunrise, florida aug 16

complete show pt.1




complete show pt. 2




complete show pt. 3




1. i can't explain




2. substitute




3. who are you




8. behind blue eyes




10. pinball wizard




13. my generation/cry if you want




19. love, reign o'er me




20. baba o'riley




23. the song is over






Edited 1 time(s). Last edit at 2025-08-17 09:11 by ProfessorWolf.

I think they sound flat and boring. What a sad way to go out including the Zak situation.

Unimpressive. Glad the Stones don't look this way.

I know it's "youtube vids n' all that", but I would have to mostly agree with the above comments. They sound nothing like the powerhouse they still were, and not that long ago in fact. I am thinking of the last time I saw them, which was Sunday 30th March this year - at the Royal Albert Hall. I always suspected that would be the last time I ever saw them, and indeed it is highly likely to be. Certainly based on these youtube vids, I don't think I'm missing much by not making an effort to travel to the States to see them one more time. And if the song truly is over, then there won't be any more live performances from them again, not anywhere, and not ever !

Somewhat of an inglorious end to the mighty WHO's performing career in my humble opinion. A shame, I think they could have somehow gone out in better style - so to say.

I can imagine the Stones are watching all this play out from the sidelines, and perhaps thinking "I wonder what we're gonna do, and how we're gonna bow out". I just hope it's not with a bit of a whimper like this appears to be ...

[ If you don't believe what I'm singing, at three o'clock in the morning, babe, well I'm singing my song for you ]

Review: the Who Kick Off U.S. Tour with Uneven Show in Sunrise

The Who kicked off their The Song Is Over: The North American Farewell Tour, Saturday night at Amerant Bank Arena.

By David Rolland
August 17, 2025


Michele Eve Sandberg/@micheleevephoto

[www.miaminewtimes.com]

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The Who's farewell tour is perfectly imperfect – Review

Melissa Ruggieri
August 17, 2025

[www.usatoday.com]

I do like the part added to my generation.i think if you can go see them but this is now and not2015/16
That was 10 years ago.i just couldn t part with 150$ and like the you tube people talking during behind blue eye
There a moment that was hard to reach
Like thinking about work while you are have sex.i listen to part1 of you tube
It was enjoyable.i think future show we be tighter or maybe roger will lose his voice.time waits for no one

That poster is terrible. I thought The Who were more about mod guys than girls, but hey, it's the inclusive pc age.

Yeah they sound soulless without Zak. They should have gone out on a high(er) note after the initial orchestra tour in 2019 (or the last Pino tour; or the last Rabbit tour; or the last John tour; or the last Kenny tour; or the last Keith tour).

I’m so confused as to what’s happened to Pete’s sound here. It’s so anemic.

Going Mobile would be a fun addition to me if it was Pete singing. If they're gonna play it with Simon singing (no knock to him, he sounds good), while Roger and Pete just stand on stage getting lost in the noise, it feels very much like watching a tribute band in the same room as the original guys you'd rather see doing it.

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tommycharles
I’m so confused as to what’s happened to Pete’s sound here. It’s so anemic.

Although admittedly, I'm only going the YouTube videos, I fell the Pete has been somewhat lacklustre for a while. His guitar-sound is almost feeble, with al the trademark ferocity dialled-down. For those who've seen him in recent years: how loud is his guitar?

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Big Al

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tommycharles
I’m so confused as to what’s happened to Pete’s sound here. It’s so anemic.

Although admittedly, I'm only going the YouTube videos, I fell the Pete has been somewhat lacklustre for a while. His guitar-sound is almost feeble, with al the trademark ferocity dialled-down. For those who've seen him in recent years: how loud is his guitar?

The WHO were utterly magnificent at the Albert Hall back in late March this year, as good and as loud and as powerful as ever. Even making allowances for watching them now through poor quality youtube videos, I can't help but feel that they've lost something since then. POWER !

[ If you don't believe what I'm singing, at three o'clock in the morning, babe, well I'm singing my song for you ]

Its only the first show of the tour.
Cut them some slack,
They are a little rusty now.
Hopefully they will get better as the tour goes on.
Im may try to get a cheap ticket for Newark tomorrow night.

Saw them on the Who Hits 50 tour. I enjoyed it. I probably would see them again if Nashville was on the schedule. If I only see them that one time, I’m good.

Definitely looking forward to the Live at The Oval 1971 vinyl I ordered! Release date this Friday!

Yes, I can’t understand all the negativity. The first Stones show last year was nothing to write home about either - something even Mick commented on. They got gradually better until they aced it it Vegas four shows in. From the videoes posted here, it can seem as if Pete’s guitar is a bit low in the mix. I think they will get it right in a bit. Would love to go, but just came back from second USA trip a few days ago, so unless I win the lottery, I’ll hope for some European shows.

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spikenyc
Its only the first show of the tour.
Cut them some slack,
They are a little rusty now.
Hopefully they will get better as the tour goes on.
Im may try to get a cheap ticket for Newark tomorrow night.

For sure - they always take a bit of time to get going. I’m seeing them twice on this run, so I’m not just being grumpy, but it does seem like Pete’s guitar went missing in these clips and I hope they sort that out.

The Who's Pete Townshend Tells All: ‘I'm 80, Why Shouldn't I Revel In It?’

The band's guitarist and main songwriter reveals the secrets of The Who's final tour.

By Jim Sullivan
August 15, 2025


Pete Townshend at the 77th Annual Tony Awards, 2024 (Theo Wargo/Getty Images)

Pete Townshend, The Who’s guitarist and main songwriter, wrote “My Generation” in 1965 at 20, penning the iconic line: “I hope I die before I get old.” Didn’t turn out that way. Townshend is 80, singer Roger Daltrey is 81. The Who’s drummer Keith Moon did die young at 32 in 1978, and bassist John Entwistle at 57 in 2002.

But Townshend and Daltrey are on what they promise is (really this time!) the final Who tour, “The Song Is Over,” a 17-date trek across North America (Aug. 16 to Sept. 28). Scott Devours, 58, takes the spot of Ringo Starr’s son Zak Starkey, 59, their recently sacked longtime drummer; the bassist since 2017 has been Jon Button, 54.

“We reserve the right to pop up again,” says Townshend wryly, by phone from his London home, “but I think one thing is very clear: that at our age, we will not.” He has no intention of retiring, however, and he’s got an album, The Age of Anxiety, he’s been working on since 2007. He’ll likely continue to write for Daltrey. Townshend gave AARP his thoughts about his tumultuous past, present and future plans.

You’ve often said you don’t like touring — why do it one last time?

It can be lonely. I’ve thought, Well, this is my job, I’m happy to have the work, but I prefer to be doing something else. Then, I think, Well, I’m 80 years old. Why shouldn’t I revel in it? Why shouldn’t I celebrate?

Why keep The Who going after Keith Moon and John Entwistle died?

It’s a brand rather than a band. Roger and I have a duty to the music and the history. The Who [still] sells records —the Moon and Entwistle families have become millionaires. There’s also something more, really: the art, the creative work is when we perform it. We’re celebrating. We’re a Who tribute band.

But apart from that, it does whet an appetite to think about how we should bow out in our personal lives — what we do with our families and our friends and everything else at this age. We’re lucky to be alive. I’m looking forward to playing, Roger likes to throw wild cards out sometimes in the set, and we have learned and rehearsed a few songs that we don’t always play.

You and Daltrey have had a love/hate relationship. Do you feel on the same page now?

We don’t communicate very well. He and I are very different and we have different needs as performers. He got upset because he felt I had sometimes given the impression of having left the building. Roger complained about the fact that he is deaf. He’s a singer, and he has to be 100 percent fit in order to do his job.

You have tinnitus. How do you look at your own health?

I think I’m on the f---ing mountain top! You know, I just feel supreme. My brain is as sharp as a razor. I’m very, very creative. I’m not good with money, but I’m good at doing business deals. I am healthy, and I think I probably have another five years in show business. I’m not quite sure doing what. I'm very [good at] producing shows, producing artists, working with artists.

Last year, you felt suicidal. Did you get therapy?

I have a friend who’s a therapist who works in recovery circles. I would wake up, say, at 9 needing to have a wee, and just put my head back on the pillow. And feel if I pulled the coverlet over my head and tried to sleep again, I would be okay. But as soon as I faced the idea of getting up, I would feel a tremendous sense of dread and sadness and frustration and, I suppose, emptiness. I used a metaphor of a gun under the pillow. Perhaps I shouldn’t have been so flippant. It certainly felt very, very real to me. But anyway, I’m good. As soon as I forced myself to get out, have a cup of tea, a couple of sugary biscuits, get on with my day, I’m fine. It was just that sleep is not doing what it’s supposed to do.

You’re the most critically self-analytical rock star I’ve interviewed, but a rock star is simply who you are, right?

A rock star is something I didn’t really want to happen. I was 16 in art school when the first song became a hit [“I Can’t Explain,” 1965]. It was bigger and better than the art stuff that I was a student for. So, I ended up as a rock star — and I think I’m not really good at it. [Laughs].

Is 1973’s Quadrophenia, about fighting Mods and Rockers in mid-1960s England, your favorite Who album?

Yeah. I had the most clear-cut control of it. There were no solid songs by John Entwistle. I didn’t have to accommodate his wonderful, but eccentric, style of writing. I did all the demos. I didn’t have to deal with a record producer always looking at his watch. I was working with synthesizers then, and I’d become very skilled.

And Quadrophenia’s story has transformative power, the idea of young men looking ahead and at their situation. There are lots of questions about masculinity. It’s a heart-searching piece, especially to young kids having a bad day and looking for answers and actually not finding them.

The album was recently made into Quadrophenia: A Mod Ballet in London. Will Americans get to see it too?

My wife [Rachel Fuller, 52] created an orchestral score for the ballet in London. She’s been so faithful to it. She spoke to the mood, the atmosphere and the harmonic structure. She’s made it absolutely wonderful. Hopefully, we’re gonna bring it to New York.

Why was (Ringo Starr's son) Zak Starkey fired from the band?

One of the difficulties Roger had was [Zak] jumped straight into Instagram and started to mouth off and defend his position in a cheeky, chatty manner, which belies the seriousness of what actually happened. Roger had asked us to rehearse “The Song Is Over” because that’s what we were calling the tour. We shortened it to three-and-a-half minutes. And about halfway through [playing it live at the Royal Albert Hall in March], it appeared that Roger got completely lost. He stopped, he complained, spoke to his own sound engineer, and started to rage. It looked like he was raging at Zak, but that’s not the case. It became a story among fans, and it looked like Roger made a mistake, but something technical went wrong. [Zak’s] handling of it, was, I suppose, light-hearted, but you know Roger.

In 1985, you were bitter about The Who, and told me even great songs like “Behind Blue Eyes” were “just old hat.” Would you change your take on that today?

Now I might, but in the ‘80s, I was struggling to write songs for The Who, to manage a solo career, and I got into trouble. I had been juggling my career, my personal family life, to provide enough energy to tour, playing stadiums. And it was very, very hard work, and it was hard to write songs of the quality of “Behind Blue Eyes.”

When we played songs from Tommy, we would end with “See me, feel me, touch me” and then “listening to you, I get the music ...” And every time we played it, the audience would get to their feet, would cheer. And if that didn’t close the show, we’d play “My Generation,” and I’d smash my guitar. We were performing phenomenally. So, try to live up to that state of work!

What’s ahead for you?

I want to continue to be creative. I’ve got songs in all kinds of development, 140 tracks ready to go. On The Age of Anxiety, [based on his 2019 first novel], I’ve got 26 songs. It’s not not autobiographical, but the scope of my own mental journey through addiction and recovery has led me to a place where I feel that I can write a character, a genuine, realistic character — youngish, who, rather than be depressed, has an acuity, a kind of instant, psychic feeling, and he decides that he wants to really dig in to make his audience as happy as they possibly can be. He’s a harmonica player in a small club with a band, and he’s very, very popular. He’s a good-looking guy, and he starts to sense the anxiety of the people in his audience, particularly the young women who are older, not teenagers, they’re young mums who are escaping something. They’re having their nights out together, having a few drinks and laughing. This guy, he starts to hear what they’re feeling. As artists, as musicians, as authors, as painters, we hope to provide some kind of bridge for people who are anxious, who feel alone, who perhaps don’t experience that congregational joy that people feel when they go to a big show, or get together with somebody and have dinner or whatever.

With The Age of Anxiety, I am hoping to start a conversation. I’m hoping that people will talk about depression, but also about the nature of the artist and what artists are going through, and how, for example, some have to be very selfish, very self-obsessed or go through periods of that.

The crux of the story is that he has to retire, and he sells a song to a car company and manages to live off the money for a while. So he starts to talk to an old super rock star from ages past who has gone mad and is a painter. He’s described as an outsider artist. And so, I have conversations in the novel about the function of art, and the function of the musician, whether it’s in a nightclub or a big arena. I found it a cathartic thing to write. Everybody I’ve shared it with has said that it starts a conversation.

How about future performances?

I plan to experiment with some one-man shows. Roger and I certainly [will] work together for charity and possibly for special projects. Together we represent all aspects of The Who legacy. You know, I’m the songwriter and creator, but Roger’s been the driving force, meaning keeping The Who band and his brand on track. Even with his solo work, we’ll continue to work together, even if we rarely socialize.

[www.aarp.org]

Newark NJ Poster



[shop.thewho.com]

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Setlist, August 19

[www.setlist.fm]

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Full show. Many thanks to Jim Powers.






Edited 1 time(s). Last edit at 2025-08-20 23:25 by bye bye johnny.

Pete's quote in that interview sum's it all up....

"Why shouldn’t I revel in it? Why shouldn’t I celebrate?"

I will be there Sept 23 celebrating one of my favorite players... cant's wait

Looking at tickmaster.com... this tour looks like it will be a disaster.

Why they're doing this tour is obviously for the money but people aren't buying tickets.

Neither one of them give a shit anymore, that's clear, yet they go on a US "farewell" tour.

Read a review of the first show and how Roger's voice got better and he let out the wail for WDGFA: amazingly the writer doesn't understand he's lip syncing to the recordings.

He can't do that wail anymore and hasn't for years.

newark, new jersey aug 19

1. i can't explain




3. who are you




4. the seeker




5. love ain't for keepin'




8. behind blue eyes




9. going mobile




10. my generation




11. you better, you bet




13. the real me




16. love reign o'er me




17. baba o'riley




18. won't get fooled again




19. the song is over




20. tea & theatre






Edited 3 time(s). Last edit at 2025-08-20 11:53 by ProfessorWolf.

Good job they've switched spots for the last two songs, T & T is much better suited to end the shows + it comes from one of the most underrated records in the history of mankind, Endless Wire.

the legacy is undeniable...the music is magic.....they are one of the greatest R & R bands ever...people should be more respectful. That's all.

Inside The Who’s emotional N.J. farewell concert, as love reigned one last time | Review

By Bobby Olivier
August 20, 2025



“I hope I die before I get old.”

Who’s gonna tell them?

Sixty years and three generations after “My Generation” helped The Who breakthrough as one of the British Invasion’s defining bands — on their way to becoming global rock legends — Roger Daltrey and Pete Townshend are somehow still commanding arena stages.

But not for much longer, as Tuesday’s date with Prudential Center was part of their “The Song Is Over” North American farewell tour — half a lifetime after The Who’s first supposed departure, in 1982.

Though this time Townshend, 80, seemed to mean it when he told the Newark crowd, “sadly … we will not be touring as The Who again.”

e weathered guitarist noted he and Daltrey, 81, would continue working, but they were near the end of “a long goodbye.”

Their most recent New Jersey performance, a 50th anniversary showcase in 2016, was also part of this slow-walked farewell. The band’s final Garden State gig (so they say) will be Saturday in Atlantic City. They love an exit.

The band — Daltrey, Townshend and a six-piece backing outfit — was in fine spirits across their one hour and 45 minutes on a simple stage, with heyday photographs flashing on the JumboTron all night. It’s unclear if any of the old black-and-whites were snapped at The Who’s first-ever Jersey show, at Union Catholic High School in Scotch Plains, in 1967. Tickets cost a steep $2.50.

Tuesday’s graying crowd paid a bit more to hear the band run through its hits, with a few deep cuts worked in. The most notable addition was “Going Mobile,” a non-single from “Who’s Next” (1971) that had never been played live until last week in Florida. The jaunty tune’s second-ever live performance hit Newark with Simon Townshend — Pete’s little brother, 64, the band’s touring guitarist — singing lead, as Daltrey wailed on harmonica. Drummer Scott Devours filled in on the kit after longtime touring member Zak Starkey (Ringo Starr’s son) was fired from the band earlier this year for “overplaying.”

The albums “Who’s Next,” “Tommy” and “Quadrophenia” earned the most attention, while a few early-career fan favorites were left off: “I Can See for Miles,” “Magic Bus,” “Happy Jack” and “Squeeze Box.”

While Daltrey has understandably stiffened in his seventh decade of music, he was still good for a few patented microphone swings, and some roaring vocals, particularly on the band’s eternal showstopper “Love Reign O’er Me.” While not quite as clean as even 10 years ago, Daltrey’s soulful delivery and full-throated effort earned a standing ovation from the mostly seated crowd.

Townshend, meanwhile, was still reasonably spry, landing a few-dozen of his famed windmill strums and ripping a crunchy solo on the bluesy classic “5:15,” fingers flying.

“The main memories I have of playing in New Jersey are playing Passaic in the early days, and we had this kid on the side of the stage watching us, and his name was Bruce Springsteen,” Townshend said, referencing the old Capitol Theatre, as “BRUUUUCE” chants bellowed.

“He’s close behind us (in age) but he still bares his f---ing chest,” quipped Townshend, forever the sardonic rocker.

While Springsteen did not take the stage, there was plenty of classic-rock joy to be found and victory laps to be rounded, from the band who taught the world how to crank your amps up to 11 and scare your parents. Remember, there’s no punk without The Who — Sex Pistols, The Ramones and The Clash all worshipped the group.

But as Tuesday’s show came to a soft close, with only Daltrey and Townshend performing the final tune “Tea and Theatre,” it felt like the last chapter on one of rock’s greatest stories was closing. Let’s see if they stick to it this time.

[www.nj.com]

Ticketmaster has put 2 for 1 deals on thousands of seats for both Toronto shows.

Quote
Rip This
the legacy is undeniable...the music is magic.....they are one of the greatest R & R bands ever...people should be more respectful. That's all.

Ah this age-old take again.

These “performances” are atrocious. Shockingly bad.

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Bastion

Quote
Rip This
the legacy is undeniable...the music is magic.....they are one of the greatest R & R bands ever...people should be more respectful. That's all.

Ah this age-old take again.

These “performances” are atrocious. Shockingly bad.

In fairness, the performances are secondary to overall demand. They could be sounding great and it still wouldn't change that no one is interested. I wouldn't say they sound "atrocious" right now, just pedestrian, which given their age isn't a surprise. I think they just toured too much and overplayed their hand, but I personally wouldn't say the "performance" is why they shouldn't be touring. Bad press with Zak and oversaturation is more the issue to me.

I feel that's generally the case with a lot of legacy bands. GNR sound terrible with Axl but people still go. Not as much as they were, and that's a case of the oversaturation. At a certain point people are going less to see something creatively interesting or relevant and more just to say they were there. See someone they are already familiar with.