Another comeback, another Who coup

■ With Quadrophenia, the legendary rockers continue to defy retirement — and prove why they should.

By LOGAN NEILL

Times Pop Music Critic

TAMPA — Fifteen years ago, Pete Townshend, Roger Daltrey and John Entwistle officially closed the books on one of British rock's most potent acts. And while the Who grudgingly managed a couple of reunion tours over the years, by and large, each served only to remind fans that time is an unrelenting foe to these titans of rock.

Throughout the spring and summer, the Who’s world tour restaging of its 1973 rock opera Quadrophenia has been touted as perhaps the band’s last hurrah before shuffling off to permanent retirement. Friday night, just over 10,000 bay area fans shelled out about $50 to see and hear for themselves at the Ice Palace whether the band could deliver the goods of old.

For their hard-earned bucks, the crowd was treated to a thoughtful, well-conceived 110-minute show that was both visually inviting and musically earnest.

Considering the longevity of the tour (about 60 shows to date), the band appeared fresh and eager. Daltrey, broad and muscular in a tank top shirt and jeans, is, at 53, still the quintessential rock frontman. Townshend, lanky and eyes probing, exuded the persona of the intellectual rocker, delivering explosive guitar strums. Entwistle was his usual passive self, quietly blending

Times photos — KATHLEEN CABBIE

Roger Daltrey’s teenage wasteland is long behind him, left, but he’s still able to span the vocal spectrum from forceful to supple. Pete Townshend carries on as the thoughtful rocker, using his trademark windmill strum to punctuate well-conceived chords.

into the background as he peeled off perfect bass lines.

The staging of Quadrophenia used a mesmerizing blend of audio and video techniques. Fronting a screen that offered a narration of the story through the point of view of Jimmy the story’s protagonist, the band, backed by a brass ensemble and various synthesizers, gave the music depth, precision and surprising verve. It’s easy to overdo a production like this. Thankfully, the Who resisted.

Although no longer in the range of his youth, Daltrey’s singing proved alternately supple and forceful. The anguish of “Dr. Jimmy” was as compelling as the final ballad, Love Reign O'er Me. Townshend also had his triumphant moments. With an acoustic guitar, he sailed through Drowned, peppering it with a distinctive R & B flavor.

The Who has learned well what its fans have cherished about the band. Along the way, there were plenty of looks and feels of bygone

days — Daltrey’s acrobatic microphone lassos, Townshend’s signature guitar windmills — brought out in moments when the action was just beginning to dim.

Other stars of the night included drummer Zak Starkey (son of Ringo Starr and a protege of the band’s original drummer, Keith Moon), whose youthful exuberance helped capture the old spirit of the band, Simon Townshend slid effortlessly into brother Pete’s slot as guitarist, much of the night.

Quadrophenia proved to be just the warmup. Fans cheered thundrously as the Who returned with a list of oldies culled from the band’s 30-year history. It was a rave send up. Songs like Won’t Get Fooled Again, Substitute and Who Are You? provided invitations for the crowd to sing along.

With such an enthusiastic production, all Who fans could ask for is for the band to reconsider retirement. These days, there just isn’t much out there to take their place.