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The Who

From Alfawiki
The Who
Company typePrivate
IndustryMusic
PredecessorThe Detours
Founded1964 in London, England
Headquarters
London
,
England
Key people
Roger Daltrey, Pete Townshend, John Entwistle, Keith Moon
ProductsMusic albums, live performances

The Who is a renowned English rock group that originated in London in 1964. The band's iconic lineup from 1964 to 1978 consisted of lead singer Roger Daltrey, guitarist Pete Townshend, bassist John Entwistle, and drummer Keith Moon. Recognized as one of the most groundbreaking rock ensembles of the 20th century, they introduced innovations such as the Marshall stack, expansive public address systems, synthesizer use, and sophisticated guitar methods. Their influence extends across various genres including hard rock, punk, power pop, and mod. In 1990, The Who were honored with induction into the Rock and Roll Hall of Fame.

Emerging from their predecessor band the Detours, The Who became closely associated with the pop art and mod scenes, gaining fame for their onstage instrument destruction. Their debut single under the name The Who, "I Can't Explain" (1965), entered the UK top ten charts, followed by successful tracks such as "My Generation" (1965), "Substitute" (1966), and "Pictures of Lily" (1967). Their international profile grew after their 1967 appearance at the Monterey Pop Festival and the release of "I Can See for Miles", their sole US top ten hit. The 1969 concept album Tommy, which included "Pinball Wizard", achieved both critical acclaim and commercial success.

Performances at major festivals like Woodstock and the Isle of Wight, together with the live album Live at Leeds (1970), reinforced their standing in rock music. Under pressure on Townshend, the abandoned Lifehouse project led to the creation of Who's Next (1971), featuring iconic songs such as "Won't Get Fooled Again", "Baba O'Riley", and "Behind Blue Eyes". They followed up with another concept record, Quadrophenia (1973), which paid tribute to their mod origins, and managed the film adaptation of Tommy in 1975. After releasing The Who by Numbers (1975), they embarked on extensive tours before largely stepping back from live shows in 1976. The 1978 album Who Are You was released shortly before Moon’s passing.

Drummer Kenney Jones, formerly with Small Faces and Faces, joined The Who as Moon’s replacement when they resumed touring activities. In 1979, they premiered a film version of Quadrophenia along with the retrospective documentary The Kids Are Alright. The early 1980s brought two additional albums, Face Dances (1981) and It's Hard (1982), both supported by worldwide tours. During this era, Townshend’s enthusiasm waned, culminating in their official disbandment in 1983. The band reunited intermittently for special occasions such as Live Aid in 1985, a 25th-anniversary tour in 1989 featuring drummer Simon Phillips, and a Quadrophenia tour between 1996 and 1997 with drummer Zak Starkey. A permanent reunion commenced in 1999 with Starkey on drums.

Following bassist Entwistle’s death in 2002, plans for new recordings were postponed until the release of Endless Wire in 2006. Since then, The Who have continued to perform primarily as a duo consisting of Daltrey and Townshend, supported by additional musicians. Their twelfth studio album, Who, arrived in 2019 alongside an extensive touring schedule.

Origins

The original lineup of The Who—Roger Daltrey, Pete Townshend, and John Entwistle—all hailed from Acton, London and were classmates at Acton County Grammar School. Townshend’s parents nurtured his enthusiasm for rock and roll; his father was a saxophonist, while his mother performed in the RAF entertainment unit during the Second World War. Early on, Townshend and Entwistle bonded over music, forming a traditional jazz band. Inspired by Duane Eddy, Entwistle switched from guitar to bass and crafted his own instrument due to budget limitations. Townshend later enrolled at Ealing Art College, an experience he credited as deeply shaping the band’s creative direction.

Daltrey, who originated from Shepherd's Bush, struggled socially at school and was expelled at age 15, after which he took a construction job. In 1959, he founded the Detours, which eventually evolved into The Who. The group played paid shows such as corporate functions, with Daltrey handling both financial matters and musical leadership.

Spotting Entwistle with a bass guitar, Daltrey invited him to join, and Entwistle recommended Townshend as guitarist in 1961. The early lineup featured Daltrey on rhythm guitar, Entwistle on bass, Harry Wilson on drums, and Colin Dawson as vocalist. Their repertoire included instrumentals by the Shadows and the Ventures, along with pop and traditional jazz covers. Daltrey was regarded as the de facto leader who guided the band’s decisions. Mid-1962 saw Wilson replaced by Doug Sandom, a seasoned semi-professional drummer older than his bandmates.

Following disagreements with Daltrey, Dawson departed and was briefly succeeded by Gabby Connolly before Daltrey assumed lead vocal duties. Encouraged by Entwistle, Townshend became the sole guitarist. Through Townshend’s mother, they secured management under local promoter Robert Druce, who booked them as opening acts. The Detours drew inspiration from artists like Screaming Lord Sutch, Cliff Bennett and the Rebel Rousers, and particularly Johnny Kidd and the Pirates. The Pirates’ single-guitar format motivated Townshend to merge rhythm and lead guitar roles; meanwhile, Entwistle developed his bass playing into a melodic lead style.

To avoid confusion with Johnny Devlin and the Detours, the band changed their name in February 1964. After considering names such as "No One" and "the Hair," Richard Barnes—Townshend’s roommate—favored "The Who" for its catchy appeal. Daltrey confirmed this choice the following morning.

Formation years

By the time they rebranded as The Who, the group had established steady performances at venues like the Oldfield Hotel in Greenford and the Goldhawk Social Club in Shepherd's Bush. They replaced manager Druce with Helmut Gorden, who arranged an audition with Chris Parmeinter of Fontana Records. Parmeinter criticized their drummer’s skills; Townshend threatened to dismiss Sandom if he did not improve. Sandom eventually left but lent his drum kit for substitute drummers; he and Townshend did not communicate for 14 years afterward.

At a gig featuring a stand-in drummer at the Oldfield Hotel, they encountered Keith Moon from Wembley, who had been drumming since 1961. Moon’s energetic performance—breaking a bass drum pedal and tearing a drumhead—earned him an offer to join The Who. He soon quit his semi-professional group, the Beachcombers, to commit fully to The Who.

The band then brought on board manager Peter Meaden, who branded them as representatives of Britain’s mod scene, highlighting fashion trends alongside rhythm and blues and soul music influences. Renamed the High Numbers, they adopted mod-style clothing and released the single "Zoot Suit"/"I'm the Face" aimed at mod audiences. Despite Meaden’s promotional efforts, the single did not enter the top 50 charts, prompting a return to the name The Who. None played their instruments conventionally; instead, they enhanced their stagecraft: Daltrey wielded his microphone cord like a whip; Moon threw drumsticks mid-rhythm; Townshend mimed firing machine guns with his guitar or generated feedback while striking his signature "Bird Man" stance.

Filmmakers Kit Lambert and Chris Stamp succeeded Meaden as managers after seeking a youthful rock band for a film project. After seeing them perform at Wealdstone’s Railway Hotel—a regular venue for the group—Lambert connected with Townshend’s art school background and encouraged original songwriting. In August, Lambert and Stamp produced a promotional film featuring the band at the Railway Hotel. The Who shifted their setlist toward soul, rhythm and blues, and Motown covers while adopting "Maximum R&B" as their slogan.

In June 1964 during a Railway Hotel performance, Townshend accidentally struck his guitar head against a low ceiling beam. Annoyed by audience laughter, he smashed his guitar on stage before switching to another instrument. Audiences anticipated further destruction at subsequent shows; Moon responded by kicking over his drum kit. This self-destructive stage act became emblematic of The Who’s live performances.

Initial Singles and My Generation

By the end of 1964, The Who had built a strong following at London's Marquee Club, catching the attention of producer Shel Talmy, who was recognized for his work with the Kinks. Townshend composed "I Can't Explain" with a style reminiscent of the Kinks, which helped secure Talmy's involvement. After signing the band, Talmy licensed their recordings to US Decca, while UK releases appeared on Brunswick Records. The track was recorded in November 1964 at Pye Studios and featured backing vocals by the Ivy League alongside fuzz guitar by Jimmy Page on the B-side, "Bald Headed Woman".

This single gained popularity through UK pirate radio stations such as Radio Caroline, which were vital since commercial radio was nonexistent and pop music received limited airtime on BBC Radio. Appearances on television programs like Ready Steady Go! and Top of the Pops further elevated their profile. The single eventually climbed into the UK top 10 in early 1965.

Their next release, "Anyway, Anyhow, Anywhere", co-written by Townshend and Daltrey, showcased pioneering guitar effects including pick sliding and feedback, though it was initially turned down by US Decca. It achieved a UK top 10 position and became the theme for Ready Steady Go!.

Under manager Lambert’s guidance to concentrate on original songs, internal tensions surfaced within the group. A tour in Denmark culminated in Daltrey’s brief dismissal following a clash with Moon; however, he was reinstated under a more democratic band structure. During this period, Richard Cole joined as their roadie.

In October 1965, "My Generation" was released—Townshend’s reworking of a slow blues into a forceful anthem featuring Entwistle’s bass solo and vocal stuttering that reflected mod culture. The track reached No. 2 on the UK charts, marking their highest position to date. It included the memorable phrase "Hope I die before I get old," which Townshend later explained was not meant literally. Their debut album My Generation combined Townshend’s compositions with several James Brown covers favored by Daltrey.

Following disputes with Talmy, The Who terminated their recording contract amid legal conflicts that postponed album reissues until 2002. They then signed with Robert Stigwood's Reaction label and released "Substitute", a song exploring themes of identity featuring Townshend on twelve-string acoustic guitar. Due to legal complications concerning its B-side, it was withdrawn and replaced by "Waltz for a Pig", recorded by the Graham Bond Organisation under the name "The Who Orchestra".

In 1966, The Who issued singles such as "I'm a Boy", originally part of an abandoned concept album titled Quads, and "Happy Jack", along with the EP Ready Steady Who, connected to their television appearances. Internal strife continued; Moon and Entwistle briefly left after an incident backstage but returned within a week. Moon also engaged in side projects including drumming on Jeff Beck’s "Beck's Bolero" while others attempted to recruit him away from The Who.

A Quick One and The Who Sell Out

To alleviate financial strain, Lambert arranged for each band member to contribute two songs for their next album. Entwistle provided "Boris the Spider" and "Whiskey Man," establishing himself as an additional songwriter. With more material required, Lambert encouraged Townshend to compose a longer piece—"A Quick One, While He's Away", a suite centered on forgiveness following infidelity. The album titled A Quick One (released as Happy Jack in the US) reached No. 4 in the UK charts and was followed by the UK Top 5 single "Pictures of Lily".

By 1966, with Ready Steady Go! having ended and the mod movement declining, The Who encountered rising competition from bands like Cream and the Jimi Hendrix Experience. Lambert and Stamp focused on expanding their success in the US market by organizing a package tour in New York with promoter Frank Barsalona. Their dynamic performances—including guitar smashing—were well received, culminating in their major US debut at the Monterey Pop Festival. Despite friction with Hendrix over stage antics, The Who’s appearance significantly raised their American profile; "Happy Jack" entered the US top 30.

After Monterey, The Who toured America supporting Herman's Hermits, developing camaraderie during the journey. Moon gained notoriety for his destructive behavior, notably using cherry bombs to cause extensive hotel damage—contributing to their wild reputation. Daltrey remarked that this tour strengthened group unity while allowing them to perform without heavy responsibilities.

Subsequently, The Who recorded "I Can See for Miles," Townshend’s meticulously produced single which became their best-selling track in the US, reaching No. 9 despite only peaking at No. 10 in the UK. They toured again with Eric Burdon and the Animals, including a memorable appearance on The Smothers Brothers Comedy Hour, where Moon’s drum kit explosion resulted in injuries and equipment damage.

Their following album, The Who Sell Out, was a concept record parodying pirate radio through jingles and spoof commercials. It featured the mini rock opera "Rael" alongside "I Can See For Miles". Embracing pop art themes, The Who recorded various radio advertisements despite growing anti-consumerist sentiments. That year Lambert and Stamp established Track Records with Polydor handling distribution; this became The Who's primary UK label until the mid-1970s.

In early 1968, The Who toured Australia and New Zealand alongside the Small Faces, encountering legal issues and unfavorable press coverage. After an incident en route to Sydney, they were briefly detained in Melbourne before being expelled from Australia by order of Prime Minister John Gorton, delaying their return until 2004. The band continued touring across North America throughout the first half of that year.

Tommy, Woodstock, Isle of Wight, and Live at Leeds

By 1968, The Who had attracted attention from the underground music press. Townshend, inspired by the teachings of Meher Baba, revealed details about a forthcoming album during an interview with Rolling Stone. Originally named Deaf Dumb and Blind Boy and later Amazing Journey, the project was ultimately titled Tommy. It narrates the story of a boy who is deaf, mute, and blind, struggling to express himself. Tracks such as "Welcome" and "Amazing Journey" show clear influence from Baba’s philosophy, while others like "Sally Simpson" and "Pinball Wizard" were influenced by the band’s own experiences and aimed to resonate with critics. Townshend envisioned Tommy functioning on several levels—as both engaging rock singles and a spiritual narrative. The recording process extended into 1969 because of the decision to release it as a double album.

Following extensive touring, The Who had honed a cohesive live performance style, exemplified in their appearance on The Rolling Stones Rock and Roll Circus. With no new album released for over a year, work on Tommy continued alongside weekend concerts. Producer Kit Lambert was instrumental in maintaining the band’s focus, supplying a script to help clarify the album’s storyline.

Upon its release in May 1969 along with the single "Pinball Wizard", Tommy sold 200,000 copies in the United States within two weeks and earned widespread critical praise; Life magazine lauded its power and innovation, while Melody Maker hailed The Who as setting the standard for their contemporaries. Daltrey’s evolving stage persona influenced rock vocalists throughout the 1970s, while Townshend adopted distinctive clothing such as boiler suits and Doctor Martens boots.

In August of that year, The Who performed at the Woodstock Festival, demanding an upfront payment of $13,000 despite initial reluctance. Although scheduled for Saturday night, their set was delayed until 5 AM on Sunday morning. They performed much of Tommy during their slot. During the show, Yippie activist Abbie Hoffman interrupted with a political speech but was forcibly removed by Townshend. The sunrise that accompanied "See Me, Feel Me" became a memorable moment. Despite professional recordings and film footage being made for various releases, band members later expressed dissatisfaction with the festival’s organization; Daltrey described it as their worst performance.

Conversely, their appearance at the 1969 Isle of Wight Festival was more favorable, with Townshend referring to it as "a great concert." The massive amount of litter left by attendees inspired the phrase "teenage wasteland," featured in their single "Baba O'Riley".

By 1970, The Who had established themselves as one of rock's leading live acts. To capture their concert energy distinct from studio efforts like Tommy, they recorded performances in Leeds and Hull; due to technical difficulties with the Hull tapes, the Leeds show was used for the live album Live at Leeds. This record is widely acclaimed by critics and media outlets including The Independent, The Telegraph, and the BBC as one of the finest live rock albums ever created.

The ongoing tour supporting Tommy included appearances in European opera houses and marked The Who as the first rock group to perform at New York’s Metropolitan Opera House. In March 1970, they released "The Seeker", which reached the UK top 20 and continued their approach of releasing singles independently from albums. The tour also featured their second Isle of Wight Festival performance before an audience estimated between 600,000 and 700,000; The Who began playing at 2:00 A.M. on Sunday, 30 August.

Lifehouse and Who's Next

The financial triumph of Tommy elevated The Who to millionaire status, yet each member reacted uniquely: Daltrey and Entwistle enjoyed a comfortable lifestyle, Townshend wrestled with the contrast between his wealth and Meher Baba's teachings, and Moon indulged in lavish spending.

Toward the end of 1970, Townshend envisioned a new multimedia concept titled Lifehouse, which delved into the dynamic between performer and audience. He crafted intricate synthesizer arrangements and secured London's Young Vic theatre for avant-garde performances. Although Townshend was hopeful about the project, his bandmates found it overly complicated and pushed for a more straightforward album. This friction contributed to Townshend experiencing a nervous breakdown, leading to the project's abandonment. Meanwhile, Entwistle debuted his solo work with Smash Your Head Against the Wall in May 1971.

Recording sessions initiated at New York's Record Plant in March 1971 were interrupted due to producer Kit Lambert's substance issues but resumed under Glyn Johns in April. The resulting album, largely composed of Lifehouse songs alongside Entwistle’s "My Wife", was released as Who's Next in August. It achieved number one on UK charts and number four in the US. Notable tracks like "Baba O'Riley" and "Won't Get Fooled Again" showcased innovative real-time synthesizer usage through a Lowrey organ combined with VCS3 synthesizer effects. The iconic synthesizer intro for "Baba O'Riley" was programmed using Meher Baba’s vital statistics and featured a violin solo by Dave Arbus. Garnering critical praise, the album also earned triple platinum certification from the RIAA. The band continued to release singles connected to the Lifehouse concept, including "Let's See Action", "Join Together", and "Relay".

The Who resumed live performances with "Baba O'Riley" and "Won't Get Fooled Again" becoming key parts of their setlists. In November, they played three nights at London's refurbished Rainbow Theatre, followed by a US tour where Robert Hilburn of the Los Angeles Times dubbed them "the Greatest Show on Earth". A December 12 concert at San Francisco's Civic Auditorium was briefly interrupted when Moon overdosed on brandy and barbiturates; however, he recovered sufficiently to complete the show.

Quadrophenia, Tommy film, and The Who by Numbers

Following the extensive touring cycle for Who's Next, Townshend insisted on a prolonged hiatus as continuous touring since the band's inception had taken its toll. In May 1972, work commenced on Rock Is Dead—Long Live Rock!, but dissatisfaction with the recordings led to its abandonment. Rising tensions saw Townshend perceive Daltrey as overly profit-driven, while Daltrey regarded Townshend’s ambitions as pretentious. Moon’s destructive tendencies escalated amid heavy substance use and relentless touring demands. Daltrey conducted a financial review revealing Lambert and Stamp as ineffective managers—a claim contested by Townshend and Moon. This managerial discord is explored in James D. Cooper’s documentary, Lambert & Stamp. After a brief European tour, the band collaborated on an orchestral version of Tommy with Lou Reizner.

By 1973, The Who recorded Quadrophenia, a concept album focusing on mod culture and youth conflicts in early 1960s Britain. The storyline centers on Jimmy’s struggle with identity within mod subculture. Musically, it incorporates four recurring themes symbolizing each band member’s personality traits. Townshend employed multi-layered synthesizers while Entwistle contributed overdubbed horn sections. Following their split from Lambert and Stamp management, Bill Curbishley assumed managerial duties. The album reached number two on both UK and US charts.

The Quadrophenia tour launched in October in Stoke on Trent, immediately encountering difficulties. Daltrey opposed bringing in Joe Cocker’s keyboardist Chris Stainton for live performances; consequently, Townshend relied on backing tracks for keyboard and synthesizer parts—a technique previously successful but insufficient here. Rehearsals were marred by escalating tensions culminating in Daltrey knocking Townshend unconscious during an altercation. At a Newcastle show plagued by technical failures, Townshend stopped the concert amid disorder; this event was later cited by The Independent as among rock’s worst live performances. During the US tour opener at the Cow Palace, Moon collapsed mid-set and an audience member temporarily took over drumming duties. After a Montreal concert, band members caused extensive hotel damage resulting in federal arrests.

In 1974, production began on Ken Russell’s film adaptation of Tommy, featuring The Who alongside notable actors such as Ann-Margret, Oliver Reed, Eric Clapton, Tina Turner, Elton John, and Jack Nicholson. Although David Essex auditioned for Tommy’s role, Daltrey was ultimately cast. Townshend and Entwistle performed most instrumental parts; session drummers including Kenney Jones filled in for Moon during recording sessions. Elton John contributed his band for the track "Pinball Wizard". Filming spanned April to August with approximately 1,500 extras involved in major scenes.

Premiering on March 18, 1975 to critical acclaim, Tommy earned Townshend an Academy Award nomination for Best Original Score and won Rock Movie of the Year at the inaugural Rock Music Awards, generating over $2 million within its first month of release. The soundtrack reached number two on Billboard charts.

Live appearances during 1974 were limited to a significant concert at London’s Valley stadium before an audience of 80,000 and several shows at Madison Square Garden. Late that year saw the release of Odds & Sods, a compilation album featuring outtakes including material from the shelved Lifehouse project.

In 1975, public disagreements emerged between Daltrey and Townshend regarding the band’s future direction; while Daltrey acknowledged The Who's importance to his career, he criticized Townshend’s stage performance, whereas Townshend felt creatively restricted. Their subsequent album, The Who by Numbers, presented introspective compositions expressing disillusionment such as "However Much I Booze" and "How Many Friends," reflecting Townshend’s solo songwriting influence. Entwistle contributed "Success Story," a satirical commentary on the music industry; "Squeeze Box" became a successful single. The following tour starting in October predominantly featured older songs with few selections from recent or Quadrophenia material; the US leg began in Houston before an audience of 18,000 and included support from Toots and the Maytals. On December 6, The Who set an indoor attendance record at Pontiac Silverdome with 78,000 spectators. On May 31, 1976 they returned to Valley stadium for what was recorded as one of the loudest concerts worldwide exceeding 120 dB. While Townshend grew weary of touring demands, Entwistle believed their live shows had reached both commercial success and artistic peak levels.

Who Are You and the Passing of Moon

Following the 1976 tour, Townshend dedicated much of the subsequent year to family life. During this period, he uncovered that Allen Klein, the former manager of The Beatles and The Rolling Stones, had acquired a share in his publishing business. Although a resolution was reached, Townshend felt disheartened by Klein's efforts to claim rights over his compositions. At the Speakeasy club, he encountered Sex Pistols members Steve Jones and Paul Cook, who were admirers of The Who. After leaving the venue, Townshend collapsed in a doorway; a police officer informed him that arrest would be avoided if he could stand and walk. These incidents inspired the title track for their next album, Who Are You.

The band regrouped in September 1977; however, Townshend declared there would be no immediate live shows, a stance supported by Daltrey. Moon’s deteriorating health rendered touring challenging. Their sole performance that year was an informal gig on 15 December at London’s Gaumont State Cinema in Kilburn, recorded for the documentary The Kids Are Alright. Having not played together for over a year, their set was lackluster and ultimately excluded from the final film. Moon’s drumming was notably subpar and he had gained considerable weight, though Daltrey later remarked, "even at his worst, Keith Moon was amazing."

Recording sessions for Who Are You commenced in January 1978. Conflicts arose between Daltrey and producer Glyn Johns regarding vocal production; Moon’s initial drumming quality was so unsatisfactory that both Daltrey and Entwistle contemplated dismissing him. His performance improved over time, but on the track "Music Must Change," he was replaced due to an inability to maintain proper timing. In May, The Who filmed a strong set at Shepperton Sound Studios for The Kids Are Alright, which turned out to be Moon’s final appearance with the group.

Released on 18 August, Who Are You quickly became their fastest-selling record to date, reaching No. 6 on UK charts and No. 2 in the US. Rather than embarking on a tour, Daltrey, Townshend, and Moon participated in promotional television interviews while Entwistle focused on producing the soundtrack for The Kids Are Alright.

On 6 September, Moon attended a party hosted by Paul McCartney in celebration of Buddy Holly's birthday. Upon returning home, Moon ingested 32 clomethiazole tablets prescribed for alcohol withdrawal. He lost consciousness overnight and was found deceased later that day.

1978–1983

In the aftermath of Moon’s death, Townshend reiterated the band’s intention to carry on, underscoring Moon’s unique role within The Who. Phil Collins, then on break from Genesis, expressed interest in joining as drummer; however, Townshend had already secured Kenney Jones—formerly of Small Faces and Faces—who officially joined in November 1978. Additionally, John "Rabbit" Bundrick came aboard as an unofficial keyboardist for live performances. The Who resumed live shows on 2 May 1979 with a concert at the Rainbow Theatre, followed by appearances at the Cannes Film Festival and Madison Square Garden.

The film adaptation of Quadrophenia premiered in 1979 under director Franc Roddam’s debut feature effort. Unlike Tommy, it employed conventional acting instead of musical sequences. Phil Daniels portrayed Jimmy while Sting played his friend known as the Ace Face. The soundtrack marked Kenney Jones’ first recording with The Who and included new songs not present on the original album. The movie achieved critical acclaim and commercial success in the UK and connected strongly with the mod revival scene, influencing groups such as The Jam.

Also completed in 1979 was The Kids Are Alright, a career-spanning documentary directed by Jeff Stein that compiled footage from Monterey, Woodstock, Pontiac concerts alongside television performances. It featured the Shepperton studio concert and an audio recording of Moon drumming over silent video—the last time he performed with the band.

In December of that year, The Who became only the third band after The Beatles and The Band to grace the cover of Time magazine. The article emphasized their enduring presence and impact in music history, noting how they had surpassed many peers both creatively and commercially.

Cincinnati disaster

On December 3, 1979, a fatal crowd crush occurred during a Who concert at Cincinnati's Riverfront Coliseum, resulting in the deaths of 11 attendees. This calamity was partly attributed to the use of festival seating, which allowed early arrivals to claim prime spots. Some concertgoers mistook the band's soundcheck for the actual performance and attempted to force their way through a limited number of open entrances, creating a deadly bottleneck.

The Who were only informed about the incident after the concert had ended, as officials feared that canceling the event would exacerbate crowd control issues. Deeply shaken by the tragedy, the band advocated for enhanced safety protocols. The following evening's performance in Buffalo was dedicated by Daltrey to those who lost their lives.

Transition and hiatus

In 1980, Daltrey paused his work with The Who to star in the film McVicar, releasing its soundtrack as his most commercially successful solo album, which featured contributions from all members of The Who as supporting musicians.

With drummer Kenney Jones, The Who produced two studio albums: Face Dances (1981) and It's Hard (1982). Face Dances yielded "You Better You Bet," which reached the US top 20 and UK top ten, with its music video among MTV’s earliest broadcasts. Both records achieved solid sales; notably, It's Hard earned a five-star rating from Rolling Stone. The track "Eminence Front" became a regular feature in live performances. During this period, Townshend faced depression and creative clashes with Daltrey and Entwistle, who preferred touring and playing classic hits while Townshend concentrated on solo projects such as Empty Glass (1980). Jones' drumming style met with internal disapproval. Townshend also briefly struggled with heroin addiction before recovering in early 1982.

Townshend wished to end touring to focus on studio work; however, Entwistle opposed this stance and threatened to leave the band. Despite tensions, The Who embarked on what was billed as a farewell North American tour, supported by The Clash, concluding on December 17, 1982, in Toronto.

In 1983, Townshend endeavored to compose material for an album under Warner Bros., but encountered creative difficulties and ultimately paid to release both himself and Jones from their contract obligations. On December 16, 1983, he publicly announced his exit from The Who, effectively bringing the band’s activities to a close.

Following the breakup, Townshend dedicated himself to solo efforts including White City: A Novel (1985), The Iron Man (1989), which featured input from Daltrey and Entwistle, and Psychoderelict (1993).

Reunion performances

In July 1985, The Who reunited for a performance at Live Aid held at Wembley Stadium in London. During their set, a fuse blew in the BBC broadcast truck briefly interrupting the live transmission. At the 1988 Brit Awards ceremony at the Royal Albert Hall, the band was honored with the British Phonographic Industry’s Lifetime Achievement Award. This brief appearance marked Kenney Jones’ last performance with The Who until his return in 2014.

1989 reunion tour

The Who launched a 25th-anniversary reunion tour in 1989 titled The Kids Are Alright, featuring Simon Phillips on drums and Steve "Boltz" Bolton as an additional guitarist. Townshend, who had revealed in 1987 that he suffered from tinnitus, alternated between acoustic, rhythm, and lead guitar roles to protect his hearing. Their two concerts at Sullivan Stadium in Foxborough, Massachusetts sold an unprecedented 100,000 tickets within eight hours, breaking records previously held by U2 and David Bowie. The tour experienced a brief interruption when Townshend sustained a hand injury during a show in Tacoma, Washington. Critical reception was mixed; some reviewers criticized the expanded lineup as overproduced and mockingly referred to it as "The Who on Ice," while Stephen Thomas Erlewine of AllMusic suggested it nearly irreparably damaged The Who’s reputation. The setlist heavily featured selections from Tommy and included guest appearances by Phil Collins, Billy Idol, and Elton John. A live album documenting the tour entitled Join Together was released in 1990.

Selective reunions

In 1990, The Who were honored with induction into the Rock and Roll Hall of Fame, where memorabilia such as Moon's velvet jacket, Entwistle's Warwick bass guitar, and a drumhead from 1968 are displayed.

The following year, in 1991, the band recorded a rendition of Elton John's "Saturday Night's Alright for Fighting" for the tribute compilation Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin. This session marked Entwistle's final studio contribution. In 1994, Daltrey commemorated his 50th birthday with two performances at New York’s Carnegie Hall, which included appearances by Entwistle and Townshend. The original surviving members reunited only during the closing number "Join Together". During that same year, Daltrey embarked on a tour accompanied by Entwistle, Zak Starkey on drums, and Simon Townshend filling in for his brother on guitar.

Quadrophenia revival

In 1996, Townshend, Entwistle, and Daltrey presented a full live rendition of Quadrophenia at Hyde Park, featuring guest musicians and Zak Starkey on drums. The performance was narrated by Daniels, who portrayed Jimmy in the 1979 film adaptation, representing the album’s first complete live staging. Despite encountering technical difficulties, this event paved the way for a six-night engagement at Madison Square Garden and a subsequent US and European tour spanning 1996 to 1997. Initially, Townshend predominantly played acoustic guitar but was eventually convinced to switch to electric. By 1998, VH1 had ranked The Who ninth on their "100 Greatest Artists of Rock 'n' Roll" list.

Charity performances and Entwistle’s passing

Towards the end of 1999, The Who performed as a quintet for the first time since 1985, with Bundrick handling keyboards and Starkey on drums. Their concert at the MGM Grand Garden Arena in Las Vegas was partially televised and later issued as the DVD The Vegas Job. Additionally, they delivered acoustic sets at Neil Young’s Bridge School Benefit in California before playing shows at Chicago’s House of Blues and two Christmas charity concerts at London's Shepherd's Bush Empire. Critics responded positively to this revitalized lineup; Rolling Stone even described the 1999 tour as surpassing their final one with Moon in 1976.

From June through October 2000, the band toured both the US and UK to generally positive acclaim. Their efforts culminated in a charity event at the Royal Albert Hall supporting the Teenage Cancer Trust, featuring guest appearances by artists such as Paul Weller, Eddie Vedder, and Noel Gallagher. Stephen Tomas Erlewine called the concert "an exceptional reunion". In October 2001, The Who took part in The Concert for New York City at Madison Square Garden, paying tribute to those affected by the September 11 attacks. Their set was praised by Forbes as providing a "catharsis" for law enforcement personnel. That same year, they were honored with a Grammy Lifetime Achievement Award.

In early 2002, The Who performed shows in the UK as preparation for an upcoming US tour. Tragically, on 27 June—one day before their first American date—bassist John Entwistle died from a heart attack at the Hard Rock Hotel in Las Vegas; cocaine use was identified as a contributing factor.

Post-Entwistle: Touring and Endless Wire

Following the passing of Entwistle, his son Christopher endorsed The Who's decision to carry on. The American tour kicked off at the Hollywood Bowl with bassist Pino Palladino joining the lineup. Townshend dedicated this performance to Entwistle, concluding with a tribute montage of his photographs. The tour persisted until September. Entwistle’s death led Townshend to reevaluate his dynamic with Daltrey, resulting in a revitalized partnership on fresh compositions.

To combat the issue of unauthorized recordings, the band introduced the Encore Series in 2002, offering official soundboard recordings through themusic.com, with proceeds directed to charitable organizations. In 2004, The Who issued "Old Red Wine" and "Real Good Looking Boy" as part of the singles anthology The Who: Then and Now, featuring bass contributions from Palladino and Greg Lake. That year, they toured extensively across Japan, Australia, the UK, and the US, including a notable return to the Isle of Wight. Additionally, Rolling Stone placed The Who at No. 29 on their list of the 100 Greatest Artists.

In 2005, The Who revealed plans to record a new album. Townshend’s novella The Boy Who Heard Music served as inspiration for the mini-opera Wire & Glass, which became central to the album’s concept. Released in 2006, Endless Wire marked their first studio release of original material since 1982’s It's Hard, featuring their first mini-opera since 1967's "Rael". The album attained No. 7 on US charts and No. 9 in the UK. Drummer Starkey joined Oasis in April 2006 but managed commitments with both bands following his integration into The Who later that year.

The 2007 documentary Amazing Journey: The Story of The Who showcased previously unseen footage from significant performances and received a Grammy nomination in 2009.

Supporting Endless Wire, The Who appeared at various prominent events such as the BBC Electric Proms at London's Roundhouse in 2006, headlined the 2007 Glastonbury Festival, performed during the Super Bowl XLIV halftime show in 2010, and concluded the London 2012 Olympic Games. In November 2012, they released Live at Hull, featuring a concert recorded one day after their renowned Live at Leeds show.

Quadrophenia and More

In 2010, The Who staged a performance of Quadrophenia at the Royal Albert Hall, with guest appearances by Vedder and Tom Meighan, as part of the Teenage Cancer Trust series. A planned tour that year faced challenges due to Townshend’s tinnitus, prompting him to adopt an in-ear monitoring system recommended by Neil Young and his audiologist.

The Quadrophenia and More tour launched in November 2012 in Ottawa, featuring keyboardists John Corey, Loren Gold, and musical director Frank Simes. In February 2013, drummer Starkey suffered a tendon injury and was temporarily replaced by Scott Devours, who stepped in on less than four hours' notice. The tour proceeded through Europe and the UK, culminating at Wembley Arena in July 2013.

The Who Hits 50! and subsequent activities

In October 2013, Townshend revealed that The Who planned to embark on their concluding tour in 2015, targeting venues they had not previously performed at.[1] Daltrey clarified that this tour was not connected to the band's 50th anniversary celebrations and mentioned intentions to create new music.[2] He commented, "Touring indefinitely isn’t feasible... while it may be open-ended, there will be a definitive end".[3]

Kenney Jones reunited with The Who during a charity event in June 2014. Later that month, the band announced intentions for a global tour alongside the possibility of releasing a new album.[4] In September, they unveiled the track "Be Lucky", which was featured on the compilation album The Who Hits 50! released in October.[5] November brought the launch of a virtual reality application co-created by Daltrey’s son, Jamie, highlighting the band’s legacy.[6]

The Who served as headliners at the 2015 Hyde Park Festival and Glastonbury Festival, with Townshend hinting these might be their final UK performances.[7] To celebrate their 50th year, all studio albums along with the compilation were reissued on vinyl.[8] In September, remaining US tour dates were cancelled due to Daltrey contracting viral meningitis; Townshend promised a robust comeback.[9]

Touring resumed in 2016 with the Back to the Who Tour 51![10], which included a return to the Isle of Wight Festival and culminated at California’s Desert Trip festival.[11] In November, The Who announced five UK shows scheduled for April 2017 featuring a complete live rendition of Tommy, retitled "2017 Tommy & More", marking the most extensive performance of the album since 1989.[12] Two preview concerts at Royal Albert Hall supported Teenage Cancer Trust.[13]

January 2019 saw The Who announce the Moving On! Tour,[14] followed by their first studio album in thirteen years, Who, which received both critical acclaim and commercial success.[15]

The Who Hits Back and The Song Is Over

In February 2022, The Who revealed plans for a North American tour named The Who Hits Back, scheduled from 22 April to 5 November 2022, commencing in Hollywood, Florida and concluding in Las Vegas, Nevada. In April 2025, Zak Starkey was initially reported to have ceased touring with the band following disagreements regarding his performance at the Royal Albert Hall. Starkey expressed surprise at the criticism but reaffirmed his allegiance to the group. Shortly thereafter, Pete Townshend confirmed that Starkey would continue as part of The Who. The band announced their mid-2025 North American tour titled The Song Is Over, designating it as their final touring engagement.

Later in 2025, Starkey officially left and was succeeded by Scott Devours, who had previously toured with Roger Daltrey’s solo act. Starkey acknowledged that he had been dismissed, while the band stated his departure was due to his need to focus on other endeavors. This personnel change coincided with The Who’s formal declaration of their forthcoming retirement from live touring.

Musical style and equipment

The Who have predominantly been recognized as a rock ensemble, integrating diverse genres throughout their evolution. In their early days as the Detours, their repertoire included traditional jazz and contemporary pop tunes before transitioning to rhythm and blues by 1963. By 1964, they embraced a mod-inspired sound shaped by the Small Faces' blend of Motown influences and grittier R&B elements. Their initial output emphasized singles but resisted conventional pop formulas. In 1967, Townshend introduced the term "power pop" to characterize their musical approach. After encountering Hendrix at Monterey, his influence helped solidify their sound during tours. From the release of Tommy onward, their studio work featured gentler compositions and a greater focus on albums rather than singles.

Synthesizers became a key component starting in the early 1970s, especially evident on Who's Next and Quadrophenia. The Who were pioneers in integrating synthesizers as fundamental elements within rock music structures. Although their style reverted to more traditional rock by By Numbers, synthesizer prominence returned notably on Face Dances.

Townshend and Entwistle were trailblazers in pushing volume levels and distortion in rock music. Early users of Marshall Amplification, Entwistle was the first to utilize dual 4×12 speaker cabinets, with Townshend quickly adopting the same setup. They incorporated audio feedback techniques both live and in studio recordings. In 1967, Townshend transitioned to customized Sound City amplifiers before switching to Hiwatt units in 1970. The Who also broke new ground by deploying 1000-watt PA systems for concerts, setting a precedent followed by contemporaries such as the Rolling Stones and Pink Floyd.

Although advancements in technology were significant, The Who have acknowledged that their live sound was never fully replicated on recordings. Their energetic performances and engagement with audiences remained core to their identity. "Irish" Jack Lyons remarked, "The Who weren't a joke, they were fucking real, and so were we."

Vocals

Daltrey initially modeled his vocal delivery on Motown and classic rock and roll styles but expanded his range considerably beginning with Tommy. His signature contribution to the band’s sound includes a distinctive scream, famously showcased in "Won't Get Fooled Again."

Backing vocals play a substantial role in The Who's arrangements. After employing session singers for harmonies on "I Can't Explain," Townshend and Entwistle enhanced their own backing vocals on subsequent tracks. Lead vocal duties were shared among Daltrey, Townshend, and Entwistle on various songs, occasionally featuring Moon as well. On Who's Next, the contrast between Daltrey’s powerful, gritty voice and Townshend’s lighter, higher tones is regarded as a defining feature.

Daltrey suffers an allergic reaction to marijuana smoke that negatively affects his voice. During a 2015 performance at Nassau Coliseum, he cautioned an audience member to put out a joint or risk an early end to the concert.

Guitars

Townshend considered himself less technically proficient than contemporaries like Eric Clapton or Jeff Beck, prioritizing visual performance aspects instead. His guitar technique evolved from banjo playing methods, emphasizing downstrokes combined with both pick and fingerpicking approaches. His rhythm work frequently utilized seventh chords and suspended fourths; power chords—comprising root and fifth intervals—became a fundamental element of rock guitar partly due to his influence. He also achieved distinctive sounds through manipulating guitar controls and feedback effects.

Early in his career, Townshend preferred Rickenbacker guitars for their ease in fretting rhythm chords and vibrato capabilities. Between 1968 and 1973, he mainly performed live using a Gibson SG Special before moving on to customized Gibson Les Paul models tuned in various ways.

For studio sessions starting with Who's Next, Townshend employed a 1959 Gretsch 6120 hollow-body guitar alongside a Fender Bandmaster amplifier and an Edwards volume pedal—items gifted by Joe Walsh. He began with acoustic guitars and has consistently used a Gibson J-200 for writing and recording purposes.

Bass

A defining feature of the band's sound was Entwistle's prominent bass lead, while Townshend concentrated on rhythm and chord progressions. In 1966, Entwistle was among the first to adopt Rotosound strings, aiming to achieve a tone reminiscent of a piano. His bass performance on "Pinball Wizard" was recognized as a vital element that enhanced the guitar parts; his work on "The Real Me" from Quadrophenia was characterized as "a bass solo accompanied by vocals." Among Entwistle's instruments was a unique "Frankenstein" bass crafted from components of five Fender Precision and Jazz models, alongside Warwick, Alembic, and Status Graphite basses.

Drums

Moon transformed rock drumming by adopting a lead role behind his kit, setting himself apart from peers such as the Kinks' Mick Avory and the Shadows' Brian Bennett, who typically avoided using tom-toms. From 1966 onward, Moon played Premier drum sets, focusing on tom rolls and cymbal work while minimizing hi-hat usage.

Conversely, Kenney Jones employed a more restrained drumming approach that contrasted sharply with Moon’s style. Although initially accepted by the band, Townshend later acknowledged that Jones never fully replaced Moon, and Daltrey felt Jones was not an ideal fit despite holding him in personal and professional regard. Zak Starkey, who grew up with Moon and received his first drum kit from him, has been lauded for a drumming style that channels Moon’s influence without mere imitation.

Lyrics

Townshend’s lyrical approach drew inspiration from Bob Dylan, emphasizing meaningful themes that resonated with youth rather than conventional rock subjects. Early compositions expressed the frustrations and anxieties experienced by mod audiences, reflecting Townshend’s own journey in "searching for my niche." By the time of The Who Sell Out, he began incorporating storytelling and characters, which culminated in the fully realized narrative of Tommy, including spiritual elements influenced by Baba. Starting in the mid-1970s, Townshend’s lyrics took on a more introspective tone, shaping his decision to embark on a solo career.

Entwistle’s songwriting typically involved dark humor and somber themes. His two contributions to Tommy ("Cousin Kevin" and "Fiddle About") were included because Townshend felt unable to compose songs as provocatively "nasty" as Entwistle’s.

Personal relationships

The Who were notorious for their difficult interpersonal dynamics. Original drummer Doug Sandom often played mediator, while Moon exhibited volatility comparable to Daltrey and Townshend; Entwistle tended to remain detached during conflicts. The band’s intense live performances and stage presence were partially fueled by internal tensions and aggression, with decisions made collectively due to frequent disagreements.

During the 1960s, the sole true friendship within the group was between Entwistle and Moon, who connected through shared humor and nightlife activities. Their bond weakened after Entwistle married in 1967 but persisted during tours. Moon’s destructive behavior was frequently enabled by Entwistle.

Although public disputes were frequent, they were often magnified by media coverage; internally, disagreements reflected contrasting artistic visions. The success of Tommy enhanced Townshend’s songwriting reputation and Daltrey’s performance skills but did not foster close camaraderie; tensions arose between them over the band’s direction in the mid-1970s. During his time with the band, Jones faced occasional criticism from Daltrey.

Entwistle’s passing in 2002 profoundly affected Townshend and Daltrey, leading them to reassess their relationship. Since then, Townshend has described their friendship as sincere and compassionate, strengthened through mutual understanding.

Legacy

Widely acknowledged as one of the most impactful rock groups of the 20th century, The Who cemented their status as leading live performers through their appearances at Monterey and Woodstock. They are also credited with pioneering the concept of the "rock opera".

Their groundbreaking contributions include refining the power chord, introducing the windmill strum, and integrating unconventional sounds like feedback into their music. The band left a mark on fashion by embracing pop art aesthetics and incorporating the Union Jack into their attire. The 1964 guitar-smashing event at the Railway Hotel is often cited by Rolling Stone magazine as a defining moment in rock history.

The Who's influence extended to contemporaries and future generations alike. Pink Floyd adopted feedback techniques inspired by their sound, while Jimi Hendrix sought amplifier configurations akin to Townshend’s setup. The band shared mutual admiration with The Beatles, with Paul McCartney describing them as "the most exciting thing around" and drawing creative inspiration for "Helter Skelter". Johnny Ramone of the Ramones acknowledged The Who as a key influence in his development.

Their powerful, loud live performances helped shape the evolution of hard rock and heavy metal. They also left an imprint on various genres such as proto-punk, punk rock, and alternative rock, impacting bands like MC5, the Stooges, the Sex Pistols, the Clash, Pearl Jam, Green Day, and Melvins. Brian May, Queen’s lead guitarist, counted The Who among his favorite artists. Additionally, they influenced mod revival bands like the Jam, hard rock acts including Guns N' Roses, and Britpop groups such as Blur and Oasis. More recently, pop rock ensemble Panic! at the Disco has cited The Who as a source of inspiration.

The Who have inspired numerous tribute acts; Roger Daltrey supports the Whodlums, a group dedicated to aiding the Teenage Cancer Trust. Their compositions have been extensively covered, with Elton John’s rendition of "Pinball Wizard" reaching No. 7 on UK charts.

Media

During periods of inactivity in the 1980s and 1990s, Townshend honed his expertise in music publishing to generate income from The Who’s catalog without engaging in recording or touring. He justified licensing their songs for use in various media as a strategy to increase visibility and expand their audience.

The American crime drama franchise CSI—including CSI: Crime Scene Investigation, CSI: Miami, CSI: NY, CSI: Cyber, and CSI: Vegas—features theme songs by The Who: "Who Are You", "Won't Get Fooled Again", "Baba O'Riley", and "I Can See for Miles", respectively. Their music has also appeared in popular television shows such as The Simpsons and Top Gear, which dedicated an episode to presenters acting as roadies for the band.

Films centered on rock music like Almost Famous, School of Rock, and Tenacious D in the Pick of Destiny reference The Who and incorporate their tracks. Other movies have included their songs in soundtracks, such as Apollo 13 featuring "I Can See For Miles" and Austin Powers: The Spy Who Shagged Me using a BBC-recorded version of "My Generation". Several of their songs have been included in the video game series Rock Band and its follow-ups.

Awards and nominations

The Who have been recognized with a multitude of prestigious accolades for their musical output and cultural impact. Among these honors are Lifetime Achievement Awards bestowed by the British Phonographic Industry in 1988 and the Grammy Foundation in 2001.

They were inducted into the Rock and Roll Hall of Fame in 1990, where they have been hailed as leading candidates for the distinction of World's Greatest Rock Band. Additionally, the band was inducted into the UK Music Hall of Fame in 2005.

Their iconic track "My Generation" along with the albums Tommy and Who's Next have been enshrined in the Grammy Hall of Fame. In 2008, members Pete Townshend and Roger Daltrey were recipients of Kennedy Center Honors. The song My Generation was also selected for preservation in the U.S. National Recording Registry in 2009.

In Rolling Stone’s 2003 ranking of the 500 Greatest Albums of All Time, The Who placed seven albums: Who's Next at number 28, Tommy at 96, The Who Sell Out at 113, Live at Leeds at 170, My Generation at 236, Quadrophenia at 266, and A Quick One at 383. The following year, Rolling Stone’s list of the 500 Greatest Songs featured five tracks by The Who, including "My Generation" ranked 11th. The magazine also positioned them as the 29th greatest artist ever.

Eddie Vedder commended The Who for merging unfiltered intensity with daring musical innovation, emphasizing Pete Townshend’s pursuit of spiritual depth through music and their powerful rapport with listeners.

Current members

  • Roger Daltrey – lead vocals, backing vocals, rhythm guitar, harmonica, percussion, ukulele (1964–1983, 1985, 1988, 1989, 1996–present)
  • Pete Townshend – lead and rhythm guitar, backing and lead vocals, keyboards (1964–1983, 1985, 1988, 1989, 1996–present)

Current touring musicians

  • Jody Linscott – percussion (1989, 1996–1997, 2025–present)
  • Simon Townshend – guitar, vocals, mandolin (1996–1997, 2002–present)
  • Loren Gold – keyboards, backing vocals (2012–present)
  • Scott Devours – drums, percussion (2013, 2025–present)
  • Jon Button – bass guitar (2017–present)
  • John Hogg – backing vocals, percussion (2025–present)

Former members

  • John Entwistle – bass guitar, horns, backing and lead vocals (1964–1983, 1985, 1988, 1989, 1996–2002; deceased)
  • Doug Sandom – drums (1964; deceased 2019)
  • Keith Moon – drums, backing and lead vocals (1964–1978; deceased)
  • Kenney Jones – drums (1978–1983, 1985, 1988)

Former touring musicians

For a full listing see former touring members

Discography

Headlining 1960s–1990s

Headlining 2000s–2010s

Bibliography

Further reading

External links

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