The Who Tour 1979 marked a significant period for the iconic English rock band, representing their first major concert series after the passing of original drummer Keith Moon. This tour, which supported their 1978 album "Who Are You," was not merely a return to live performance but also a phase of considerable musical experimentation and set list fluidity, particularly evident during its initial U.S. leg. With Kenney Jones stepping in on drums and John
"Rabbit" Bundrick joining on keyboards, the band embarked on a journey that saw Pete Townshend frequently improvising and introducing new material, shaping a dynamic and evolving live experience for their audiences.
The Genesis of a New Sound
Following Keith Moon's death in September 1978, The Who made the decision to continue as a band. This continuation necessitated a new lineup, bringing in Kenney Jones, formerly of Small Faces, to fill the crucial role of drummer. Additionally, keyboardist John "Rabbit" Bundrick was integrated into the live performance setup, adding a fresh layer to the band's established sound. This five-piece incarnation of The Who first took to the stage for seven shows, commencing on May 2 at the Rainbow Theatre in London, signaling the beginning of a new chapter for the group.
This period was characterized by the band's efforts to adapt and evolve their live sound without Moon's distinctive drumming. The addition of Bundrick on keyboards allowed for a broader sonic palette, potentially influencing the arrangements and overall feel of their performances. The initial shows in London served as a testing ground for this new configuration, laying the groundwork for the extensive touring that would follow across Europe and the United States.
Dynamic Set List Variations on the First U.S. Leg
The first U.S. leg of The Who Tour 1979, though relatively brief, stood out for its remarkable set list variations. Lasting from September 10 to 18, this leg included two nights at the Capitol Theatre in Passaic, New Jersey, and five nights at Madison Square Garden in New York City. During these performances, Pete Townshend was notably active in improvising and incorporating new songs into the set list almost nightly. This creative approach meant that audiences were treated to a constantly evolving show, with each performance potentially offering unique musical moments.
Among the new songs Townshend introduced were titles such as "Dance It Away," "That's Rock And Roll," "I'm London," and "Cat's in the Cupboard." This willingness to experiment with unreleased or newly conceived material on stage highlights a period of significant artistic exploration for the band. The set list from the second New York show on September 14, 1979, provides a snapshot of this dynamic period, showcasing a mix of established hits and these fresh improvisations. The inclusion of songs like "Trick of the Light" (written by John Entwistle), "5:15," and "Drowned" (with Townshend on vocals) on specific dates, alongside the unreleased "Blue Black White," further underscores the fluid nature of their performances during this leg.
The Who's Return to the American Stage
The 1979 U.S. leg was a crucial part of The Who's re-establishment on the American concert scene after a period of adjustment following Moon's death. The concentrated run of shows in major East Coast venues like Passaic and New York City allowed the band to present their new lineup and evolving sound to a significant portion of their American fanbase. The emphasis on varied set lists and Townshend's improvisational contributions likely kept the performances fresh and engaging, both for the band and their dedicated audience.
This leg, despite its short duration, played a vital role in defining the character of The Who Tour 1979. It demonstrated the band's resilience and their commitment to pushing musical boundaries even in the face of profound change. The blend of familiar anthems with new, experimental tracks offered a compelling live experience, showcasing a band that was actively reinventing itself while honoring its storied past.
