► CONTINUED FROM E1

Suddenly seemed like a veteran member of the group, because The Who needed to absorb another new member: bassist Pino Palladino, a veteran of bands fronted by Eric Clapton and the solo Townshend.

Dressed in black like Daltrey and Townshend, Palladino filled in ably for Entwistle, even down to his stock-still stage pose. The complex dynamics of songs like “Won’t Get Fooled Again” and “Bargain” didn’t seem to offer him any difficulties, just a week into his new role.

But then, those songs are touchstones to a generation of rock fans, every note and change burned into the collective memory; Lines like “Meet the new boss/Same as the old boss” were shouted out with glee by the crowd of approximately 10,000, who were thrilled to have a chance to spend the Fourth of July with these non-Americans.

“This is the best way to honor John,” said Bonnie Culbert, 38, of Roseville. “He lives in the music.”

“What were they supposed to do?” asked Jamie Page, 41, of Sacramento. “Sit home and feel bad about John and cancel the tour?” Page saw The Who with Moon and reckons the current band, which also includes Townshend’s brother Simon on guitar and backing vocals, and longtime keyboard player John “Rabbit” Bundrick, to be the best since then.

The band played 21 songs in its two-hour set, opening with its now-traditional blast of three early hits, “I Can’t Explain,” “Substitute” and “Anyway, Anyhow, Anywhere,” passionate anthems to teenage energy.

The set list included one less-well-known song, “Another Tricky Day,” but otherwise it was like listening to a classic rock station’s Who marathon: “Who Are You,” “The Relay,” “Bargain,” “Baba O’Riley,” “5:15,” “Behind Blue Eyes,” “The Kids Are Alright,” “You Better You Bet,” “My Generation,” “Pinball Wizard” and the “See Me, Feel Me” coda from “Tommy” as an encore.

Despite their familiarity, the band attacked the songs with vigor, Starkey and Townshend pushing each other in the frequent instrumental sections that have always been one of The Who’s musical distinctions.

Starkey is proving himself particularly adept at the

“This is the best way to honor John (Entwistle). He lives in the music.” Bonnie Culbert Who fan from Roseville

“rave-up” style of jamming that British bands of the mid-’60s, particularly The Who and The Yardbirds, introduced to British rock. In the rave-up, the band establishes a whirlpool groove of notes and rhythms, building it in intensity until it explodes.

The band did that repeatedly, then took it even further with a couple of instrumental sections from the “Tommy” album, “Amazing Journey/Sparks” and “Underture.”

Through it all, Palladino handled his new role well, like Entwistle providing a solid, largely unobtrusive bottom for his flashier bandmates.

Daltrey, being the singer, had the toughest job: How does a 58-year-old man re-create some of the most passionately youthful – and, in his prime, full-bodied – of rock’s roars and wails?

The answer is, he can’t, and Daltrey’s voice broke up repeatedly during the show. Still, he didn’t miss too many notes, and in any case the band has always been about Townshend, his guitar and the band’s attack on the songs, which themselves remain brilliant.

But they are the same songs, and they, along with Entwistle’s death, raise the question: Where does The Who go from here? Without new material – a new album has been rumored, but has yet to appear – The Who has long been viewed as a very good nostalgia act. With the loss of Entwistle leaving only two original members, the need for a fresh start has grown.

With two new players who work remarkably well with the band, The Who appeared Thursday night to be a viable proposition. With a bit more creative work – great new songs for a great new band – The Who may continue well into the future. After all, as Daltrey said, “Life goes on.”

Counting Crows, one of the best bands of the ’90s, opened the show with an authority few opening acts can muster. Launching into “Murder of One” while the sun still blazed and thousands searched for their seats, the Bay Area septet made a valiant attempt to reclaim some of the baby-boomer audience that made it popular on the same radio stations that keep The Who in the public ear.

□□□

The Bee’s David Barton may be reached at (916) 321-1075 or at dbarton@sacbee.com.