The Bennies, who are momentarily home after an intensive three-month tour that included shows across the United States, never disappoint.

With the theatrics of Spinal Tap meets the off kilter sounds of Lee “Scratch” Perry, the hometown heroes play a short set but manage to pack in all their hits including Anywhere You Wanna Go and Highrider. A bundle of unrelenting energy, there’s something particularly special about watching a band live out their dreams right in front of your eyes.

Frenzal Rhomb are the surprise packet of the night.

A last minute ring-in as Cam Baines from Bodyjar’s wife went in to labour earlier today, Frenzal Rhomb put together a makeshift set that rivals their headliner complete with quick-witted stage banter, guitarist Lindsay McDougall’s fine vocal harmonies and decade-spanning song selections. This is no mean feat considering half of the band members just flew in from Sydney and, up until a few hours earlier, one was hosting a drive-time radio show.

If you’ve ever listened to either of NOFX’s live albums, or watched their Backstage Passport documentary, you’d already know what to expect from the band: 50% music and 50% talking, they rarely deviate from their tried and tested formula and tonight is no exception.

Frontman Fat Mike is at his self-loathing best and gets on the front foot promptly to discuss an incident that occurred with a fan earlier in the tour, which grabbed headlines around the world. Opening with Backstage Passport Theme Song, the singer replaces the, “We’re NOFX/Screwin’ up since 1983,” opening lyrics with, “We’re NOFX and now we’re kicking kids on TMZ,” which sets the tone for what’s to come. When the constant chatter between songs stops and they let their music do the talking, NOFX race through classics such as Green Corn (1991) and Stickin In My Eye from a year later. There’s an inspired cover of the late Tony Sly’s The Shortest Pier and a brief reggae sojourn via Eat The Meek.

Lyrically, NOFX aren’t particularly cerebral, molding their brand of skate-punk around a jocular punchline and sing-along chorus. However, moments of political scrutiny and global consciousness – explored during tracks such as Perfect Government, Kill All The White Man and Franco Un-American – are sheer brilliance. Cutting through any ambiguity, NOFX deliver a knock-out punch and highlight why a band of Californian misfits are still creating music 30 years after forming and continue to sell out venues on the other side of the world.