The Who review – rock operas get an orchestral uplift in a show stuffed with classics

Roger Daltrey on tour with the Who. Photograph: Gary Calton/The Observer

‘I want what you’re taking,” Pete Townshend quips, pointing to an enthusiastic fan. “Not again,” retorts Roger Daltrey, comedically rolling his eyes. After six decades of bickering, the two original members of the Who still have compelling onstage friction.

In a loosely buttoned white linen shirt, Daltrey paces stage right, twirling his microphone and winking at the crowd. Townshend keeps firmly to his own half. “The Who? More like who’s left,” the guitarist deadpans, before gesturing at a stage packed with strings, brass and two drum kits: “We replaced Keith Moon with 50 people, so you’re getting your money’s worth.”

The Who Hits Back! tour is built to be a crowd-pleaser, combining orchestral performances of the classic rock operas Tommy and Quadrophenia with a band-only section of pure hits. A majestic opening overture sweeps the Edinburgh crowd to their feet despite the evening’s heavy rain, but the first songs proper, including Tommy’s concise 1921, feel swamped by their expanded rearrangements. It takes Pinball Wizard to bring the energy back. The string section, with lead violinist Katie Jacoby, sounds victorious against Daltrey’s commanding, brassy voice, and Townshend’s iconic riff feels like a drone ringing through the Castle esplanade.

Spiky and electric … Daltrey (left) and Townshend. Photograph: Gary Calton/The Observer

Eminence Front locks into a strong groove, but other classics are set to cruise control: Who Are You is buoyed only by the crowd. By the middle of the show, however, the core band find a fresh edge, and a double-header of You Better You Bet and Substitute is spiky and electric. When the orchestra returns for Quadrophenia, it’s a much better match – instrumental The Rock seethes like a Bond theme.

Baba O’Riley, saved for last, is the musical equivalent of a fireworks display: Jacoby finds fresh heat in the outro’s well-loved solo, brandishing her violin at Townshend and dancing playfully with Daltrey. A delighted crowd air-guitars along with her.

The two Whos stay on stage for a softer finale. Tea & Theatre is a saccharine ballad about the band’s legacy, but it’s genuinely poignant when Daltrey sings Townshend’s lyrics directly to him: “We did it all, didn’t we?”

• At the O2, London, on 12 July. Then touring.