Pete Townshend

In late 1961, Entwistle joined the Detours, a skiffle/rock and roll band, led by Roger Daltrey. The new bass player then suggested Townshend join as an additional guitarist.[28] In the early days of the Detours, the band's repertoire consisted of instrumentals by the Shadows and the Ventures, as well as pop and trad jazz covers. Their lineup coalesced around Roger Daltrey on lead guitar, Townshend on rhythm guitar, Entwistle on bass, Doug Sandom on drums and Colin Dawson as vocalist.[29] Daltrey was considered the leader of the group and, according to Townshend, "ran things the way he wanted them."[30] Dawson quit in 1962 after arguing too much with Daltrey, who subsequently moved to lead vocalist. As a result, Townshend, with Entwistle's encouragement, became the sole guitarist. Through Townshend's mother, the group obtained a management contract with local promoter Robert Druce,[31] who started booking the band as a support act for bands including Screaming Lord Sutch, Cliff Bennett and the Rebel Rousers, Shane Fenton and the Fentones, and Johnny Kidd and the Pirates.[32] In 1963, Townshend's father arranged an amateur recording of "It Was You", the first song his son ever wrote.[33] The Detours became aware of a group of the same name in February 1964, forcing them to change their name.[34] Townshend's roommate Richard Barnes came up with "The Who", and Daltrey decided it was the best choice.[35]

Townshend (with Moon, rear right) backstage before a gig at Friedrich-Ebert-Halle in Ludwigshafen, Germany on 12 April 1967

Not long after the name change, drummer Doug Sandom was replaced by Keith Moon, who had been drumming semi-professionally with the Beachcombers for several years.[36] The band was soon taken on by a mod publicist named Peter Meaden who convinced them to change their name to the High Numbers to give the band more of a mod feel. After bringing out one failed single ("I'm the Face/Zoot Suit"), they dropped Meaden and were signed on by two new managers, Chris Stamp and Kit Lambert, who had paired up with the intention of finding new talent and creating a documentary about them.[37] The band anguished over a name that all felt represented the band best, and dropped the High Numbers name, reverting to the Who.[38] In June 1964, during a performance at the Railway Tavern, Townshend accidentally broke the top of his guitar on the low ceiling and proceeded to destroy the entire instrument.[39] The on-stage destruction of instruments soon became a regular part of the Who's live shows.[40]

With the assistance of Lambert, the Who caught the ear of American record producer Shel Talmy, who had the band signed to a record contract. Townshend wrote a song, "I Can't Explain", as a deliberate sound-alike of the Kinks, another group Talmy produced. Released as a single in January 1965, "I Can't Explain" was the Who's first hit, reaching number eight on the British charts.[41] A follow-up single ("Anyway, Anyhow, Anywhere"), credited to both Townshend and Daltrey, also reached the top 10 in the UK.[42] However, it was the release of the Who's third single, "My Generation", in November that, according to Who biographer Mark Wilkerson, "cemented their reputation as a hard-nosed band who reflected the feelings of thousands of pissed-off adolescents at the time."[43] The Townshend-penned single reached number two on the UK charts, becoming the Who's biggest hit. The song and its famous line "I hope I die before I get old" was "very much about trying to find a place in society", Townshend stated in an interview with David Fricke.[44]

To capitalise on their recent single success, the Who's debut album My Generation (The Who Sings My Generation in the US) was released in late 1965, containing original material written by Townshend and several James Brown covers that Daltrey favoured.[45] Townshend continued to write several successful singles for the band, including "Pictures of Lily", "Substitute", "I'm a Boy", and "Happy Jack".[46] Lambert encouraged Townshend to write longer pieces of music for the next album, which became "A Quick One, While He's Away”. The album was subsequently titled A Quick One[47] and reached No. 4 in the charts upon its release in December 1966.[48] In their stage shows, Townshend developed a guitar stunt in which he would swing his right arm against the guitar strings in a style reminiscent of the vanes of a windmill.[49] He developed this style after watching Rolling Stones guitarist Keith Richards warm up before a show.[50]

Townshend's "windmill" technique

The Who commenced their first US tour on 22 March 1967.[51] Townshend took to trashing his hotel suites, though not to the extent of his bandmate Moon.[52] He also began experimenting with LSD, though stopped taking the drug after receiving a potent hit after the Monterey Pop Festival on 18 June.[53] Released in December, their next album was The Who Sell Out—a concept album based on pirate radio, which had been instrumental in raising the Who's popularity. It included several humorous jingles and mock commercials between songs,[54] and the Who's biggest US single, "I Can See for Miles".[55] Despite the success of "I Can See for Miles", which reached No. 9 on the American charts, Townshend was surprised it was not a smash hit, as he considered it the best song he had written up to that point.[56]

By 1968, Townshend became interested in the teachings of Meher Baba.[57] He began to develop a musical piece about a deaf, dumb, and blind boy who would experience sensations musically.[58] The piece would explore the tenets of Baba's philosophy.[59] The result was the rock opera Tommy, released on 23 May 1969 to critical and commercial success. Leonard Bernstein praised the album, saying its "sheer power, invention and brilliance of performance outstrips anything which has ever come out of a recording studio."[60] In support of Tommy, the Who launched a tour that included a memorable appearance at the Woodstock Festival on 17 August. While the Who were playing, Yippie leader Abbie Hoffman jumped the stage to complain about the arrest of John Sinclair. Townshend promptly knocked him offstage with his guitar, shouting, "Fuck off my fucking stage!"[61]

In 1970, the Who released Live at Leeds, which several music critics cite as the best live album of all time.[62] Townshend began writing material for another rock opera. Dubbed Lifehouse, it was designed to be a multi-media project that symbolised the relationship between a musician and his audience.[63] The rest of the band were confused by its convoluted plot and simply wanted another album. Townshend began to feel alienated, and the project was abandoned after he suffered a nervous breakdown.[64] Much of the material intended for Lifehouse was released as a traditional studio album, Who's Next. It became a commercial smash, reaching number one in the UK, and spawned two successful hit singles, "Baba O'Riley" and "Won't Get Fooled Again", that featured pioneering use of the synthesizer.[65] "Baba O'Riley" in particular was written as Townshend's ode to his two heroes at the time, Meher Baba and composer Terry Riley.[66]

Townshend performing in Hamburg, Germany in August 1972

Townshend began writing songs for another rock opera in 1973. He decided it would explore the mod subculture and its clashes with Rockers in the early 1960s in the UK.[67] Entitled Quadrophenia, it was the only Who album written entirely by Townshend, and he produced the album as well due to the souring of relations with Lambert.[68] It was released in November, and became their highest charting cross-Atlantic success, reaching No. 2 in the UK and US.[69] NME reviewer Charles Shaar Murray called it "prime cut Who" and "the most rewarding musical experience of the year."[70] On tour, the band played the album along to pre-recorded backing tapes, causing much friction. The tapes malfunctioned during a performance in Newcastle, prompting Townshend to drag soundman Bob Pridden onstage, scream at him and kick over all the amplifiers, partially destroying the malfunctioning tapes.[71] On 14 April 1974, Townshend played his first solo concert, a benefit to raise funds for a London community centre.[72]

A film version of Tommy was directed by Ken Russell, and starred Roger Daltrey in the title role, Ann-Margret as his mother, Oliver Reed as his step-father, with cameos by Tina Turner, Elton John, and other rock notables; the film premiered on 18 March 1975.[73][74] Townshend was nominated for an Academy Award for scoring and adapting the music in the film.[75] The Who by Numbers came out in November of that year and peaked at No. 7 in the UK and 8 in the US. It featured introspective songs, often with a negative slant.[76] The album spawned one hit single, "Squeeze Box", that was written after Townshend learned how to play the accordion.[76] After a 1976 tour, Townshend took a year-long break from the band to focus on spending time with his family.[77]

The Who continues despite the deaths of two of the original members (Keith Moon in 1978 and John Entwistle in 2002). The band is regarded by many rock critics as one of the best[78][79] live bands[80][81] from the 1960s to the 2000s. The Who continues to perform critically acclaimed sets into the 21st century, including highly regarded performances at The Concert For New York City in 2001, the 2004 Isle of Wight Festival, Live 8 in 2005 and the 2007 Glastonbury Festival.

Townshend remained the primary songwriter and leader of the group, writing over 100 songs which appeared on the band's eleven studio albums. Among his creations is the rock opera, Quadrophenia. Townshend revisited album-length storytelling throughout his career and remains associated with the rock opera form. Many studio recordings also feature Townshend on piano or keyboards, though keyboard-heavy tracks increasingly featured guest artists in the studio, such as Nicky Hopkins, John Bundrick or Chris Stainton.[82]

Townshend is one of the key figures in the development of feedback in rock guitar. When asked who first used feedback, Deep Purple guitarist Ritchie Blackmore said:

Pete Townshend was definitely the first. But not being that good a guitarist, he used to just sort of crash chords and let the guitar feedback. He didn't get into twiddling with the dials on the amplifier until much later. He's overrated in England, but at the same time you find a lot of people like Jeff Beck and Hendrix getting credit for things he started. Townshend was the first to break his guitar, and he was the first to do a lot of things. He's very good at his chord scene, too.[83]

Similarly, when Jimmy Page was asked about the development of guitar feedback, he said:

I don't know who really did feedback first; it just sort of happened. I don't think anybody consciously nicked it from anybody else. It was just going on. But Pete Townshend obviously was the one, through the music of his group, who made the use of feedback more his style, and so it's related to him. Whereas the other players like Jeff Beck and myself were playing more single note things than chords.[84]

Many rock guitarists have cited Townshend as an influence, among them Slash,[85] Alex Lifeson[86] and Steve Jones.[87]

In addition to his work with the Who, Townshend has been sporadically active as a solo recording artist. Between 1969 and 1971 Townshend, along with other devotees to Meher Baba, recorded a trio of albums devoted to his teachings: Happy Birthday, I Am, and With Love. In response to bootlegging of these, he compiled his personal highlights (and "Evolution", a collaboration with Ronnie Lane), and released his first major-label solo title, 1972's Who Came First. It was a moderate success and featured demos of Who songs as well as a showcase of his acoustic guitar talents. He collaborated with the Faces' bassist and fellow Meher Baba devotee Ronnie Lane on a duet album (1977's Rough Mix). In 1979 Townshend produced and performed guitar on the novelty single "Peppermint Lump" by Angie on Stiff Records, featuring 11-year-old Angela Porter on lead vocals.[88]

Townshend made several solo appearances during the 1970s, two of which were captured on record: Eric Clapton's Rainbow Concert[89] in January 1973 (which Pete organized to revive Clapton's career after the latter's heroin addiction),[90] and the Paul McCartney-sponsored Concerts for the People of Kampuchea in December 1979. The commercially available video of the Kampuchea concert shows the two rock icons duelling and clowning[91] through Rockestra mega-band versions of "Lucille," "Let It Be" and the "Rockestra Theme"; Townshend closes the proceedings with a characteristic split-legged leap.[92]

Townshend's solo breakthrough, following the death of Who drummer Keith Moon, was the 1980 release Empty Glass, which included a top-10 single, "Let My Love Open the Door" and "Rough Boys". This release was followed in 1982 by All the Best Cowboys Have Chinese Eyes, which included the popular radio track "Slit Skirts". While not a huge commercial success, noted music critic Timothy Duggan listed it as "Townshend's most honest and introspective work since Quadrophenia." Through the rest of the 1980s and early 1990s Townshend would again experiment with the rock opera and related formats, releasing several story-based albums including White City: A Novel (1985), The Iron Man: A Musical (1989), and Psychoderelict (1993). Townshend also got the chance to play with his hero Hank Marvin for Paul McCartney's "Rockestra" sessions, along with other rock musicians such as David Gilmour, John Bonham and Ronnie Lane.

Pete Townshend in concert, 2008

Townshend has also recorded several concert albums, including one featuring a supergroup he assembled called Deep End, with David Gilmour on guitar, who performed just three concerts and a television show session for The Tube, to raise money for his Double-O charity, supporting drug addicts.[93] In 1993 he and Des McAnuff wrote and directed the Broadway adaptation of the Who album Tommy, as well as a less successful stage musical based on his solo album The Iron Man, based upon the book by Ted Hughes. McAnuff and Townshend later co-produced the animated film The Iron Giant, also based on the Hughes story.

A production described as a Townshend rock opera and titled The Boy Who Heard Music debuted as part of Vassar College's Powerhouse Summer Theater program in July 2007.

On 2 September 2017 in Lenox, Massachusetts, Pete Townshend embarked with fellow singer and musician Billy Idol, tenor Alfie Boe and an orchestra on a short (5-date) "Classic Quadrophenia" US tour which ended on 16 September 2017 in Los Angeles, California.[94][95]

From the mid-1990s through the present, Townshend has participated in a series of tours with the surviving members of the Who, including a 2002 tour that continued despite Entwistle's death.[96]

In February 2006, a major world tour by the Who was announced to promote their first new album since 1982. Townshend published a semi-autobiographical story The Boy Who Heard Music as a serial on a blog beginning in September 2005.[97] The blog closed in October 2006, as noted on Townshend's website. It is now owned by a different user and does not relate to Townshend's work in any way. On 25 February 2006, he announced the issue of a mini-opera inspired by the novella for June 2006. In October 2006 the Who released their first album in 24 years, Endless Wire.

The Who performed at the Super Bowl XLIV half-time show on 7 February 2010, playing a medley of songs that included "Pinball Wizard", "Who Are You", "Baba O'Riley", "See Me, Feel Me" and "Won't Get Fooled Again".[98] In 2012, the Who announced they would tour the rock opera Quadrophenia.

The Who were the final performers at the 2012 Summer Olympics closing ceremony in London, performing a medley of "Baba O'Riley", "See Me, Feel Me" and "My Generation".[99]

On 22 March 2018, Pete Townshend stated that a new Who album should feature original songs by Roger Daltrey as well as him.[100] That album, simply titled Who, was released on December 6, 2019. It was the band's second album as a duo, and their first in thirteen years.[101]

The Age of Anxiety, formerly Floss The Musical,[102] is the name given to a work-in-progress by Townshend.[103] The musical has been a work in progress at least since 2009 with an original estimated release of 2011.[104] On 24 January 2012 Townshend sold the rights to all of his back catalog and much of his future work including Floss The Musical if it is ever completed.[105][106] He summarized the work in an interview with Sirius Satellite Radio published February 2010.[107] In a 2015 interview Townshend stated that the work was intended to be an art installation.[108] In March 2019 it was announced that a work entitled The Age of Anxiety would be published as a novel, with an opera to follow.[109]

Townshend leaping into air in concert

Throughout his solo career and his career with the Who, Townshend has played a large variety of guitars – mostly various Gibson, Fender and Rickenbacker models. He has also used Guild, Takamine and Gibson J-200 acoustic models, with the J-200 providing his signature recorded acoustic sound in such songs as "Pinball Wizard".[114]

In the early days with the Who, Townshend played an Emile Grimshaw SS De Luxe and 6-string and 12-string Rickenbacker semi-hollow electric guitars primarily (particularly the Rose-Morris UK-imported models with special f-holes). When the excited audience responded enthusiastically after he accidentally broke the head off his guitar on a low ceiling during a concert at the Railway Hotel pub in Wealdstone, west London, he incorporated the eventual smashing of his instrument into the band's performances.[115] However, as instrument-smashing became increasingly integrated into the Who's concert sets, he switched to more durable and resilient (and, importantly, cheaper) guitars for smashing, such as the Fender Stratocaster, Fender Telecaster and various Danelectro models.[116] On the Who's The Smothers Brothers Comedy Hour appearance in 1967, Townshend used a Vox Cheetah guitar,[117] which he only used for that performance; the guitar was destroyed by Townshend and Moon's drum explosion. In the late 1960s, Townshend began playing Gibson SG Special models almost exclusively. He used this guitar at the Woodstock and Isle of Wight shows in 1969 and 1970, as well as the Live at Leeds performance in 1970.

By 1970 Gibson changed the design of the SG Special which Townshend had been using previously, and he began using other guitars. For much of the 1970s, he used a Gibson Les Paul Deluxe, some with only two mini-humbucker pick-ups and others modified with a third pick-up in the "middle position" (a DiMarzio Superdistortion / Dual Sound). He can be seen using several of these guitars in the documentary The Kids Are Alright, although in the studio he often played a '59 Gretsch 6120 guitar (given to him by Joe Walsh),[117] most notably on the albums Who's Next and Quadrophenia.[118]

During the 1980s, Townshend mainly used Fenders, Rickenbackers and Telecaster-style models built for him by Schecter and various other luthiers. Since the late-1980s, Townshend has used the Fender Eric Clapton Signature Stratocaster, with Lace Sensor pick-ups,[117] both in the studio and on tour. Some of his Stratocaster guitars feature a Fishman PowerBridge piezo pick-up system to simulate acoustic guitar tones. This piezo system is controlled by an extra volume control behind the guitar's bridge.

During the Who's 1989 Tour Townshend played a Rickenbacker guitar that was ironically smashed accidentally when he tripped over it. Instead of throwing the smashed parts away, Townshend reassembled the pieces as a sculpture.[119] The sculpture was featured at the Rock Stars, Cars And Guitars 2 exhibit during the summer of 2009 at The Henry Ford museum.

Townshend playing a Fender Eric Clapton Signature Stratocaster

There are several Gibson Pete Townshend signature guitars, such as the Pete Townshend SG, the Pete Townshend J-200, and three different Pete Townshend Les Paul Deluxes. The SG was clearly marked as a Pete Townshend limited edition model and came with a special case and certificate of authenticity, signed by Townshend himself. There has also been a Pete Townshend signature Rickenbacker limited edition guitar of the model 1998, which was his main 6-string guitar in the Who's early days. The run featured 250 guitars which were made between July 1987 – March 1988, and according to Rickenbacker CEO John Hall, the entire run sold out before serious advertising could be done.

He also used the Gibson ES-335, one of which he donated to the Hard Rock Cafe. Townshend also used a Gibson EDS-1275 double-neck very briefly circa late 1967, and both a Harmony Sovereign H1270[120] and a Fender Electric XII for the studio sessions for Tommy for the 12-string guitar parts. He also occasionally used Fender Jazzmasters on stage in 1967 and 1968[121] and in the studio for Tommy.

In 2006 Townshend had a pedalboard designed by long-time gear guru Pete Cornish. The board apparently comprises a compressor, an old Boss OD-1 overdrive pedal, as well as a T-Rex Replica delay pedal.

Over the years, Townshend has used many types of amplifier, including Vox,[122] Selmer, Fender, Marshall, and Hiwatt, sticking to using Hiwatt amps for most of four decades. Around the time of Who's Next, he used a tweed Fender Bandmaster amp (also given to him by Joe Walsh in 1970[123]), which he also used for Quadrophenia and The Who by Numbers. While recording Face Dances and the collaborative album Rough Mix, Townshend made use of a Peavey Vintage 4×10 amplifier in the studio. Since 1989, his rig consisted of four Fender Vibro-King stacks and a Hiwatt head driving two custom made 2×12" Hiwatt/Mesa Boogie speaker cabinets. However, since 2006, he has only three Vibro-King stacks, one of which is a backup.

Townshend figured prominently in the development of what is widely known in rock circles as the "Marshall stack". He ordered several speaker cabinets that contained eight 12" speakers in a housing standing nearly six feet in height with the top half of the cabinet slanted slightly upward. These were too heavy to move easily, so Jim Marshall cut the massive speaker cabinet in half, at the suggestion of Townshend, with each cabinet containing four 12-inch speakers. One of the cabinets had half of the speaker baffle slanted upwards and Marshall made these two cabinets stackable. The Marshall stack was born, and Townshend used these as well as Hiwatt stacks.

He has always regarded his instruments as being merely tools of the trade[124] and has, in latter years, kept his most prized instruments well away from the concert stage. These instruments include a few vintage and reissue Rickenbackers, the Gretsch 6120, an original 1952 Fender Telecaster,[125] Gibson Custom Shop's artist limited edition reissues of Townshend's Les Paul DeLuxe models 1, 3 and 9 as well his signature SG Special reissue.

Townshend played keyboards on several Who songs. On Who's Next, he began to work with analogue synthesizers, using the ARP 2600 model that he first encountered at Cambridge University.[126] He had this to say about the instrument: "I like synthesizers because they bring into my hands things that aren't in my hands: the sound of an orchestra, French horns, strings. There are gadgets on synthesizers that enable one to become a virtuoso on the keyboard. You can play something slowly and you press a switch and it plays it back at double speed. Whereas on the guitar you're stuck with as fast as you can play and I don't play fast, I just play hard. So when it goes to playing something fast I go to the synth."[127]

The synths Townshend was referring to include the EMS VCS3, the ARP Instruments, Inc. ARP 2600, some of which modified a Lowrey TBO Berkshire organ. Current photos of his home studio also show an ARP 2500. Townshend was featured in ARP promotional materials in the early 1970s.[128]

Since the late 1980s Townshend has predominantly used Synclavier Digital Audio systems for keyboard composition, particularly solo albums and projects. He currently owns three systems, one large Synclavier 9600 Tapeless Studio system, originally installed in his riverside Oceanic Studio, later transferred to a seagoing barge moored alongside the studio on the River Thames, and currently based in his home studio. He also uses a special adapted smaller Synclavier 3200 system which can be transported, enabling him to carry on working away from his main studio. This 3200 system was modified to be of similar specification to the 9600, including the addition internally of FM voices, stereo Poly voices and with the large VPK keyboard. This is the only Synclavier 3200 system of this specification in existence, custom-designed and built for Townshend by Steve Hills. The third system Townshend owns is one of the first Synclavier II systems ever built. The ORK (original smaller) keyboard of which is on display in his company's head office alongside a pink Vespa scooter.

Townshend met Karen Astley, daughter of film composer Edwin Astley, while in art school. They married on 20 May 1968 and moved into a three-bedroom townhouse in Twickenham in outer south-west London that overlooked the Thames.[134] They have three children: Emma (born 1969), who is a gardening columnist, Aminta (born 1971), who works in film production, and Joseph (born 1989), who studied graphic design at Central St. Martins.[135]

Townshend and his wife separated in 1994. He has since been in a relationship with arranger and musician Rachel Fuller. Townshend currently lives at The Wick, Richmond, London, England. He also owns a house in Churt, Surrey, and in 2010 purchased a lease of part of the National Trust property Ashdown House in Oxfordshire.[136] According to The Sunday Times Rich List his assets were worth £40 million as of 2009.[137]

In a 1989 interview with radio host Timothy White, Townshend apparently acknowledged his bisexuality, referencing the song "Rough Boys" on his 1980 album, Empty Glass. He called the song a "coming out, an acknowledgment of the fact that I'd had a gay life, and that I understood what gay sex was about."[138] However, in a 1994 interview for Playboy, he said, "I did an interview about it, saying that "Rough Boys" was about being gay, and in the interview I also talked about my "gay life," which—I meant—was actually about the friends I've had who are gay. So the interviewer kind of dotted the t's and crossed the i's and assumed that this was a coming out, which it wasn't at all."[139] Townshend later wrote in his 2012 autobiography Who I Am that he is "probably bisexual".[140][141] Townshend also stated that he once felt sexually attracted to the Rolling Stones lead singer, Mick Jagger.[142]

Townshend accepted a caution from the Metropolitan Police (the Met) as part of Operation Ore, a major investigation on child pornography conducted in 2002–2003. The Met stated that "it was established that Mr Townshend was not in possession of any downloaded child abuse images". Townshend was placed on the sex offenders register for five years in 2003 after admitting he had used his credit card to access a child pornography website.[143][144] Townshend initially claimed that he accessed the images as research in a campaign against child sexual abuse;[145] in 2012, he wrote in his autobiography, Who I Am, that he had accessed the illegal images to prove that British banks were complicit in channelling the profits from pedophile rings.[146] An article by investigative reporter Duncan Campbell that was published in PC Pro magazine revealed that police had no evidence that the website accessed by Townshend involved children and nothing incriminating was found on his personal computer.[147]

Townshend suffers from partial deafness and tinnitus, believed to be the result of noise-induced hearing loss from his extensive exposure to loud music. The Who were renowned as a very loud band in their live performances; some particular incidents include a Who concert at the Charlton Athletic Football Club, London, on 31 May 1976 that was listed as the "Loudest Concert Ever" by the Guinness Book of Records, where the volume level was measured at 126 decibels 32 metres from the stage. Townshend has also attributed the start of his hearing loss to Keith Moon's famous exploding drum set during the Who's 1967 appearance on The Smothers Brothers Comedy Hour.[148]

In 1989, Townshend gave the initial funding to allow the formation of the non-profit hearing advocacy group H.E.A.R. (Hearing Education and Awareness for Rockers). After the Who performed at half-time at Super Bowl XLIV, Townshend stated that he is concerned that his tinnitus has grown to such a point that he might be forced to discontinue performing with the band altogether. He told Rolling Stone, "If my hearing is going to be a problem, we're not delaying shows. We're finished. I can't really see any way around the issue." Neil Young introduced him to an audiologist who suggested he use an in-ear monitor, and although they cancelled their spring 2010 touring schedule, Townshend used the device at their one remaining London concert on 30 March 2010, to ascertain the feasibility of Townshend continuing to perform with the Who.[149]

In March 2011, Roger Daltrey said in an interview with the BBC that Townshend had recently experienced gradual but severe hearing loss and was now trying to save what remained of his hearing: "Pete's having terrible trouble with his hearing. He's got really, really bad problems with it...not tinnitus, it's deterioration and he's seriously now worried about actually losing his hearing".

Referring to that, in July 2011, Townshend wrote at his blog: "My hearing is actually better than ever because after a feedback scare at the indigO2 in December 2008 I am taking good care of it. I have computer systems in my studio that have helped me do my engineering work on the forthcoming Quadrophenia release. I have had assistance from younger forensic engineers and mastering engineers to help me clean up the high frequencies that are out of my range. The same computer systems work wonderfully well on stage, proving to be perfect for me when the Who performed at the Super Bowl and doing Quadrophenia for TCT at the Royal Albert Hall in 2010. I'm 66, I don't have perfect hearing, and if I listen to loud music or go to gigs I do tend to get tinnitus".

In 1998, Townshend was named in a list of the biggest private financial donors to the UK Labour Party.[150] He refused to let Michael Moore use "Won't Get Fooled Again" in Fahrenheit 9/11, saying that he watched Bowling for Columbine and was not convinced.[151] In 1961 while in art school, Townshend joined the Young Communist League and was a prominent figure in their 1966 "Trend" recruitment campaign. In a 1974 Penthouse interview he stated that he recognised in practice he was a capitalist who was rewarded well for his work, but that his ideals were communist.[152]

In a widely reported 2012 interview with ABC, Townshend described himself jokingly as being "a bit of a neocon" stating that, "I like the idea of America as the world’s police force. Then we don’t have to do it. You guys sort it out."[153]

In a 2019 interview with The Times, Townshend revealed he was in favour of the UK remaining in the European Union, stating, "I'm a Remainer, he [Roger Daltrey] is a Brexiteer. I believe in God, he doesn’t."[154]

Townshend has been an active champion of children's charities. The debut of Pete Townshend's stage version of Tommy took place at San Diego's La Jolla Playhouse in July 1992. The show was earmarked as a benefit for the London-based Nordoff-Robbins Music Therapy Foundation, an organisation which helps children with autism and intellectual disability.

Townshend performed at a 1995 benefit organised by Paul Simon at Madison Square Garden's Paramount Theatre for the Children's Health Fund. The following year, Townshend performed at a benefit for the annual Bridge School Benefit, a California facility for children with severe speech and physical impairments, with concerts organised by Neil and Pegi Young. In 1997, Townshend established a relationship with Maryville Academy, a Chicago area children's charity. Between 1997 and 2002, Townshend played five benefit shows for Maryville Academy, raising at least $1,600,000. His 1998 album A Benefit for Maryville Academy was made to support their activities and proceeds from the sales of his release were donated to them.

As a member of the Who, Townshend has also performed a series of concerts, beginning in 2000 to benefit the Teenage Cancer Trust in the UK, which raised several million pounds. In 2005, Townshend performed at New York's Gotham Hall for Samsung's Four Seasons of Hope, an annual children's charity fundraiser. In the same year, he donated a smashed guitar to the Pediatric Epilepsy Project.[155]

On 4 November 2011, Roger Daltrey and Pete Townshend launched the Daltrey/Townshend Teen and Young Adult Cancer Program at the Ronald Reagan UCLA Medical Center in Los Angeles, to be funded by the Who's charity Who Cares. The launch, followed on 5 November by a fund-raising event, was also attended by Robert Plant and Dave Grohl.[156]

Townshend has also advocated for drug rehabilitation. In a 1985 radio interview, he said:

What I'm most active in doing is raising money to provide beds in clinics to help people that have become victims of drug abuse. In Britain, the facilities are very, very, very lean indeed ... although we have a national health service, a free medical system, it does nothing particularly for class A drug addicts – cocaine abusers, heroin abusers ... we're making a lot of progress ... the British government embarked on an anti-heroin campaign with advertising, and I was co-opted by them as a kind of figurehead, and then the various other people co-opted me into their own campaigns, but my main work is raising money to try and open a large clinic.

The "large clinic" Townshend was referring to was a plan he and drug rehabilitation experimenter Meg Patterson had devised to open a drug treatment facility in London; however, the plan failed to come to fruition. Two early 1979 concerts by the Who raised £20,000 for Patterson's Pharmakon Clinic in Sussex.

Further examples of Townshend's drug rehabilitation activism took place in the form of a 1984 benefit concert (incidentally the first live performance of Manchester band the Stone Roses), an article he wrote a few days later for Britain's Mail on Sunday urging better care for the nation's growing number of drug addicts, and the formation of a charitable organisation, Double-O Charities, to raise funds for the causes he'd recently championed. Townshend also personally sold fund-raising anti-heroin T-shirts at a series of UK Bruce Springsteen concerts and reportedly financed a trip for former Clash drummer Topper Headon to undergo drug rehabilitation treatment. Townshend's 1985–86 band, Deep End, played two benefits at Brixton Academy in 1985 for Double-O Charities.

In 1979 Townshend donated his services to the human rights organisation Amnesty International when he performed three songs for its benefit show The Secret Policeman's Ball – performances that were released on record and seen in the film of the show. Townshend's acoustic performances of three of his songs ("Pinball Wizard", "Drowned", and "Won't Get Fooled Again") were subsequently cited as forerunners and inspiration for the "unplugged" phenomenon in the 1990s.[157]

Townshend had been invited to perform for Amnesty by Martin Lewis, the producer of The Secret Policeman's Ball, who stated later that Townshend's participation had been the key to his securing the subsequent participation for Amnesty (in the 1981 sequel show) of Sting, Eric Clapton, Jeff Beck, Phil Collins and Bob Geldof. Other performers inspired to support Amnesty International in future Secret Policeman's Ball shows and other benefits because of Townshend's early commitment to the organisation include Peter Gabriel, Bruce Springsteen, David Gilmour and U2's lead singer Bono who in 1986 told Rolling Stone magazine: "I saw The Secret Policeman's Ball and it became a part of me. It sowed a seed...."

• Who Came First (1972)
• Rough Mix (1977) (with Ronnie Lane)
• Empty Glass (1980)
• All the Best Cowboys Have Chinese Eyes (1982)
• White City: A Novel (1985)
• The Iron Man: The Musical by Pete Townshend (1989)
• Psychoderelict (1993)

Townshend also released several albums dedicated to his spiritual mentor Meher Baba, listed on the discography page.

In 1968 Townshend helped assemble a band called Thunderclap Newman consisting of three musicians he knew. Pianist Andy Newman (an old art school friend), drummer John "Speedy" Keen (who had written "Armenia City in the Sky" for the Who to record for their 1967 album The Who Sell Out) and teenage guitarist Jimmy McCulloch (later to join Wings). Townshend produced the band and played bass on their recordings under the tongue-in-cheek pseudonym "Bijou Drains". Their first recording was the single "Something in the Air", which became a number one hit in the UK and a substantial hit elsewhere in the world. This was the only number one hit in the UK that Townshend performed on. (The Who had none.)[158] Following this success, Townshend produced their sole album, Hollywood Dream.

Townshend also produced "Fire" by the Crazy World of Arthur Brown in 1968 that was No. 1 in the UK and No. 2 in the US and was also an executive-producer on the band's debut album, also called The Crazy World of Arthur Brown.[158]

In 1971 Townshend, along with Keith Moon and Ronnie Lane, backed Mike Heron (of the Incredible String Band) on one song "Warm Heart Pastry" from Heron's first solo LP, Smiling Men with Bad Reputations. On the album notes, they are listed as "Tommy and the Bijoux". Also present on the track was John Cale on viola.

In 1984 Townshend contributed lyrics to the track "I'm the Answer" on his brother Simon's debut solo album Sweet Sound which was released as a single and features Townshend and Simon on an interview that wrongly names that the track was by "Peter Townshend".

In 1984 Townshend contributed two songs ("Love on the Air" and "All Lovers are Deranged") to David Gilmour's solo album About Face.

Through much of 2005, Pete Townshend recorded and performed alongside his girlfriend Rachel Fuller, a classically trained pianist and singer-songwriter.

In 2006 Townshend opened a website for implementation of The Lifehouse Method based on his 1971 Lifehouse concept. This website was in collaboration with composer Lawrence Ball and software developer David Snowden, with instrumentation by Steve Hills. Applicants at the website could input data to compose a musical "portrait" which the musical team could then develop into larger compositions for a planned concert or series of concerts.

Other appearances include:

• The Kids Are Alright (film) with The Who, rockumentary, dir. by Jeff Stein (1979)
• "Because You're Young" with David Bowie on Scary Monsters (1980)
• Backing vocals on "Slave" with "The Rolling Stones" Tattoo You (1981)
• Acoustic guitar on "Ball and Chain" with Elton John on Jump Up! (1982)
• Backing vocals on "I'm the Answer" with Simon Townshend on Sweet Sound (1983)
• "Lonely at the Top" and "Hard Women" with Mick Jagger on She's the Boss (1985)
• Guitar on "Town of Plenty" with Elton John on Reg Strikes Back (1988)
• Acoustic guitar with Prefab Sprout on "Hey Manhattan!" on From Langley Park to Memphis (1988)
• "Substitute" with the Ramones on Acid Eaters (1993)
• "Joy" and "Gun" with Mick Jagger on Goddess in the Doorway (2001)
• "Slow Burn" with David Bowie on Heathen (2002)
• "Angry" and "Move Over Busker" on Paul McCartney's Press to Play (1986)
• "Travelator" on Jean Michel Jarre's Electronica 1 – The Time Machine (2015)