Review: Desert Trip opening weekend ends with all-conquering set by The Who

It was a night of contrasts; The Who delivered a raucous, no-holds-barred, crowd-pleasing, hits-laden set – while Rogers Walters was all about precision playing and state-of-the art production.

The Who’s Roger Daltrey (left) and Pete Townshend perform at the Desert Trip festival on October 9 in Indio, California. Frazer Harrison / Getty Images / AFP

Desert Trip, the new American super festival, concluded it’s opening weekend on October 9 with The Who the highlight of the night.

The British rockers gave a spirited performance at the Empire Polo Club in California’s Coachella Valley, ahead of a set from former Pink Floyd bassist Roger Waters.

It was a night of contrasts; The Who delivered a raucous, no-holds-barred, crowd-pleasing, hits-laden set – while Walters was all about precision playing and state-of-the art production.

You know The Who is up for it when Pete Townshend actually starts talking.

The normally sedate – OK, let’s be honest, grumpy – performer was almost unrecognisable compared with the sullen figure that took the stage on Yas Island as part of the 2014 Abu Dhabi Grand Prix after-race concert series.

Energised by the spectacle of the event, and the 75,000-strong crowd, Townsend was all banter as he regaled the crowd with anecdotes and observations from The Who’s five decade career.

While praising Jimmy Hendrix as a genius, Townsend described him as “a nuisance” to deal with. Referring The Who’s popularity in the late 1960s and ’70s, he suggested they were “the Rihanna of our time”.

But while the banter was light-hearted, there was nothing lightweight about the performance. Where Friday’s headliner Rolling Stones were slick, The Who were raw and hungry – they came for scalps.

The Seeker was a piledriver, as Townsend's relentless riffs created a dense wall of sound that Daltrey's full blooded growl had to overcome. Who Are You still sounded euphoric, while The Kids Are Alright soared on the back of Townsend's propulsive fretwork.

Unlike at their Abu Dhabi show, where it was sorely missed, My Generation was also dusted off – albeit with a whiff of contractual obligation.

Join Together was a highlight. It served as an showcase of Daltrey's sometimes underappreciated vocals – yes he lacks the drama of a Robert Plant, but makes up for it in unrivalled passion. Paired with Townsend's groovy licks, it all sounded mountainous.

Another highlight was The Rock, the instrumental from their 1973 rock opera Quadrophenia, augmented by a montage illustrating the key world events from the 50 years since the band was formed.

With his vocals sufficiently rested, Daltrey gave a fiery take on the stomping Pinball Wizard and Baba O'Riley, which 45 years on still sounds pompish in the right sort of way.

Concluding the set with Won't Get Fooled Again, mutterings of "better than the Stones" could heard.

This would have been a great way to end the night. Instead, Roger Waters had to try to follow it. Depending on who you asked, he was either brilliant or boring. Most people agreed, however, that it was a mistake having him as the closing act.

The transition was like going from watching a blockbuster Hollywood action movie to an obscure art house film.

With the blood still pumping from The Who, it took a while for people to start to appreciate the evocative imagery and ethereal collection of songs presented by Walters.

The word “presented” is used advisedly, as most of the singing was done by supporting male and female vocalists, particularly on Floyd vocalist Dave Gilmour’s parts. Waters almost took the role of conductor on Pink Floyd’s classics.

He sang the lead on the heady Breathe, eye-popping visuals coupled with haunting backing vocals adding to the track's trance-inducing state.

While he didn't sing Money, Waters was the star courtesy of that iconic, ominous opening bass line.

Dedicated to his Floyd bandmate, the late Syd Barrett, Shine On You Crazy Diamond (Parts I-V) was positively lush as he led the ensemble through the sonics peaks and troughs.

In another poignant moment Waters invited an American war veteran, who had lost his legs, to play guitar on stage, and dedicated the song “to all victims of violence.”

In Pigs (Three Different Ones), Waters made clear his thoughts on Donald Trump by placing an image of the Republican presidential hopeful on the screens with the word "Charade" emblazoned underneath.

The biggest moment was undeniably Another Brick in the Wall (Part 2) for which a choir of 15 children performed wearing shirts with the slogan Derriba el muro – Spanish for "tear down the wall", another jab at Trump, as well as a reference to the song. Waters followed this by thanking universities across California for their support of the Palestinian cause.

Technically, it was a great set – but it failed to emotionally connect thanks to the curatorial misfire of having him close the evening.

• There will be encore performances from all six acts at Desert Trip from October 14 to 16. www.desertrtip.com