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have pulled off “Tommy” in 1989. Save for a few major numbers, it’s dodgy and dated material. And does anybody anywhere within the listening distance of “classic-rock” radio really need to hear another version of “See Me, Feel Me”?

With “Tommy” done, the crowd — and the band — seemed anxious to get on with the “celebration” of Who music that the band promised. But they didn’t get it.

Instead of following the climax of “Tommy” with the raw power of the Who’s early work, the band turned to “Eminence Front” — a song recorded in 1982, a decade after the Who stopped making records of which he could be proud, Townshend has said.

Still, “Eminence Front” — supercharged by the blasting horn-section — pumped up the crowd and seemed to energize the Who.

But to no avail.

With a keyboard player, two drummers, three back-up singers, a five-piece horn section and an extra guitarist, the three surviving members of the Who didn’t really need to be there.

At times, they weren’t.

As “Eminence Front” ended, Daltrey wandered off stage. Townshend remained, leading the band through unexciting versions of “Let My Love Open the Door” and “Face the Face,” two songs he recorded away from the Who.

Daltrey soon returned for “Can’t Explain,” which lost its raw pop power to the big band. “Substitute” and “I Can See for Miles” fared better, but the band crashed to a halt once again for Entwistle’s “Boris the Spider.” It’s nice to let everyone get in a song or two, but please.

The band closed its first set with “Who Are You?” and for a brief moment, the Who was the Who. Daltrey was screaming, Townshend — now on electric guitar — was windmilling, and drummer Simon Phillips was doing his best to bring back Keith Moon.

The second set opened with similar promise as the Who returned to its stronger, earlier material like “My Generation” and “5:15.” If you closed your eyes, and it almost seemed like the real thing. Almost.