A year on from their duly-deserved ARIA Hall Of Fame induction, The Dingoes have finally returned to the live circuit, dusting off some old classics alongside the anticipated offerings of brand new material. Following a string of successful sold-out dates, each effortlessly validating their revival, an extra show at the Northcote Social Club was announced, much to the delight of their adoring fans.

Entering the bandroom as a member of Generation Y yielded a surreal time-warp sensation, an older, impassioned demographic fitting out the shoebox-sized venue with ease. Australian blues mainstay Chris Wilson supported the band, providing a solo acoustic performance that set the tone for the evening brilliantly.Wilson’s strengths are immediately apparent, his accomplished voice engaging powerfully with impressive confidence. It’s obvious that such a distinct quality that could only come with expansive live experience such as his. His cool brand of charisma coupled with an Aussie, working-class charm worked to filter from his music to form a comfortable stage banter, Wilson engaging the audience with a healthy does of humor and blunt political commentary. His outlook was so obviously attuned to the audience in attendance, his implicit generational traits and attitudes shared with the crowd to win them over with ease.

Ultimately, however, Wilson’s music would do the most talking, boasting silky smooth skills on the harmonica, and precise, technically-honed musicianship on his acoustic guitar. A highlight of the set came in his cover of Cream’s Spoonful, delivered with captivating success. Overall, Wilson emerged as the perfect precursor to the headline act.

The introduction of The Dingoes continued a return thirty years in the making, and the rapturous older crowd made their appreciation for the band known. A slide-guitar began proceedings, the emphatic, methodical country ensemble kicking in beautifully as the members lined the front of stage. It took little time for fans to truly enjoy the spectacle, a sea of bobbing heads strewn before the Aussie rock legends. Frontman Broderick Smith called for Come On Down, a punter exclaiming excitedly, “The riff!”. Sure enough, a coarse, roaring guitar riff followed. Whilst much of their material is at its core colored by a country-rock pallett, The Dingoes also manage to draw elements from an excellent variety of genres, citing blues, rock and roll and even pop sensibilities throughout not only their career to date but in their contemporary incarnation. The collaboration between each of the band’s members was stunning in its cohesion, the band faultless and faithful to songs past and present.

Smith, as per expectations, cuts an oddly stagnant, uncomfortable figure that seems entirely in-congruent to the notion of what his particular role in the group demands. Many of the best moments of their show, however, came when Smith unexpectedly broke free from his shackles and enjoyed himself, crafting an excellent rapport with the audience by way of his endearing down-to-earth approach. Smith could leave the stage assured that he gave an unquestionably stellar performance.

The sublime recreation of their beloved repertoire continued, Orphans Of The Storm containing a killer chorus that provided among the best moments of the night. Going Down Again fuelled the set with its brand of jaunty rock and roll, whilst Blue Sanctuary - a track penned by guitarist Chris Stockley - shone in a sunny, country-pop digression complete with mandolin. Way Out West was a crowd favourite, the band joined in voice for the iconic chorus by a venue in fine form. Try Anyway, meanwhile, proved the surprise of the evening, a welcome addition to their catalog found on their latest record.

Experience such a performance was no doubt hugely nostalgic for The Dingoes faithful, spiriting away even the least acquainted, impassioned punters to another era. These legends worked tirelessly to prove that nothing has been lost in the sands of time, an exceptionally terrific performance not only solidifying their place in Australia’s proud music history, but one that undoubtedly encourages new prosperity also.