W.K.
The travelling circus, as Pete Townshend, guitarist and bandleader of The Who calls his band, behaved loudly, like in the beginnings of his career in 1965 - but without destroying their instruments.
High spot of their debut in Münster was their own rock opera Tommy, the story of a deaf-dumb, whom the band presents a happy end.
Tommy should have set new direktions, should have provided a new image. (Not only) Münster proved the opposite. The Who's music hasn't changed at all. Like before it doesn't require much musical knowledge. Nevertheless the Münster audience seemed not even fit for that: Rhythmical clapping and storms of applause at the wrong moments weren't points in favour of their expertise.
The Who's instrumental performance isn't excellence, but it is satisfactory. Pete Townshend played some very good soli, but drummer Keith Moon's devilish treatment of his immense drum kit seemed slightly tense.
John Entwistle provided outstanding work on his bass; and singer Roger Daltrey proved that there don't have to be quality differences between studio and live performances.
