L&SI does not take lightly the privilege to exclusively witness this unique event, many thanks to Bill Curbishley (manager), Mick Double (production manager) and Tom Kenny (lighting designer) for their kindness.
In essence this was one of two warm-up venues for the Who’s brief residency at the Albert Hall - but of course, it was also so much more than that. How often do less than a thousand punters get the chance to see a band of this stature in such intimate surroundings? Feeling like the David Attenborough of R’n’R, I recognised instantly the natural habitat of this wildest of beasts, a seminal rock band in a provincial shoebox.
Mick Double joined the band as Keith Moon’s drum roadie in 1970, later progressing to production manager. With such a rare perspective on their career I asked him how this differs from their more usual outing? "It’s a better quality experience, for both the band and the punters. And it’s louder," he added half jokingly. "No seriously, it’s better for them (the band) and it does stimulate them. We cut our cloth accordingly and have gone for a small sound system tailored to the venue." The Entec supplied d&b C4 system might be just that, small, tiny even, but as it transpired Double’s comment was hardly a jest, it was very loud. And with the Who you shouldn’t have it any other way.
Rob Collins mixes sound. "They play as if there’s no PA," he exclaimed. "Mix-wise, I do more or less as I would at a bigger gig. With the Who it’s always pretty raw anyway. The vocals are what I’m mainly concerned with, but this room has problems."
Shoebox you see? Daltry rather unkindly called it a shithole, and that at the end of a two-hour rampage through their lengthy repertoire, a rampage he clearly relished. If this is a shithole, and frankly the acoustics are no worse than some of the arenas they play, then let’s have more of them. (Note: Watford’s lively acoustics make it a popular hall for the BBC when making classical recordings, it having precisely the qualities of resonance and liveliness not required for a loud rock band).
"With this situation then OK, the stage sound is pretty loud," Collins continued, "and the way it gets to you is a mass of confusion. The drums, for example, clatter in this room like Billy-oh. So I’ll have to put a fair bit of drums in the PA to overcome this." Which worked, as did leaving the bass out.
Collins is assisted FOH by Matt Butcher. "Anyone who sets themselves on fire with Sambuca, I’m into," commented Collins of Butcher’s lesser-known skills. "Coverage is not an issue, Matt and Tristram set it up and I use it. I have a Midas XL4 out front, and all my usual bits and pieces.
There existed a huge potential for overwhelming stage sound, particularly Bass guitar, but John Entwhistle proved himself uncharacteristically restrained on the night. Perhaps Daltry had words; he certainly talked about it to Rob Collins during sound check when the rest of the band were absent, and in fairly rigorous, if comical, terms. Whatever the reason, Collins found ample space to balance the mix, and like Daltry, clearly enjoyed himself."It’s good for the adrenaline - I can feel it coming off the band. Out in the house you notice it more. Because of the small size of the venue, you’re part of the audience, not some little island in the middle of an arena where all you hear is the PA." Here, hear.
As with sound, the LSD supplied lighting rig was equally undersized. "For this show Bill Curbishley called, told me about it and I decided on starkness," said Tom Kenny. "Pete Townsend is very theatrical - whenever I’ve spoken to him about it, he says things like ‘when I was 18 I always imagined our songs being staged, not just sung.’ I agree, they’re the best cue band I’ve
