I’ve never liked Luna Park’s Big Top as a venue. The aircraft-hangar-like space has poor acoustics, but damn, does it suit the bands playing tonight. The line-up features The Living End (who need no introduction), supported by Perth’s epic rockers End of Fashion and local boys The Red Riders. The fairground setting, sea-air and large under-age contingent reminds me of those carefree days of school holidays. However, we’re not here to reminisce – on with the rock ‘n roll!

The Red Riders hit the stage with grungy flair, performing under a masking-taped sign bearing the initials ‘RR’. They launched into a few heavily rhythmic numbers (their drummer seems to be strongly inspired by Dave Grohl), framed with plenty of atmospheric distortion and epic-sounding fretwork. They caught the attention of the crowd with new single Aspirin and rounded off their set with the hit Slide in Next to Me. At which point everyone finally realised who they were, and busted a few moves accordingly. There’s a lot of potential here.

Perth’s End of Fashion had a strong following, with quite a few of the punters seeming to be there primarily for the quartet. The attention was warranted, however – the band managed to not only fill the hangar-like space, but actually transcend it; they have a sound that is much, much larger than that found on their recorded material. I felt their anthemic brand of rock would be better suited to a spot opening up for U2 at The Telstra Stadium than their current bookings. Besides bear-like guitarist Rodney Aravena’s driving guitar, Singer/guitarist Justin Burford’s vocals, (which fall somewhere between Matt Bellamy’s (Muse) wails and Jimmy Barnes’ rasp) do a lot to up the ante. Their bright, major-key rock ‘n roll impressed, and although they barely said a word to the audience, there was plenty of non-verbal crowd interaction, including plenty of call-and-response action.

It’s hard to say when we knew The Living End were going to start, but suffice to say we just knew. Everyone else seemed to as well, and there was a scramble to get a prime spot inside. The three-some entered cutting a punked-up dash, drummer Andy Stratchan dapper in red tie, bassist Scott Owen coupled with fetching checkered double-bass, and singer Chris Cheney with freshly-minted peroxide-blonde mop. The trio head their set with Til the End a song from their newest album, State of Emergency, the first anthem of the night comes in the form of yell-along track Roll On, with Who’s gonna save us? nipping at its heels. Chris’s lyrics take on a quality of protest live, forming a collective scream from generations X & Y.

Collecting a standout nomination for the night is track All Torn Down, a song about historical buildings biting the dust in the band’s native Melbourne. The guys pull it off in sublime fashion, adding lush strings and ringing guitars in an extended format. The result is a much more emotive feel than a piece of sterile plastic could ever produce. The band counter that with the blissfully crass crowd-participation number Uncle Harry. It goes over with drinking-song joviality, many of the crowd screaming themselves hoarse in service to rock ‘n roll.

Then it’s hit after bulls-eyed hit, and the more recent Long Live the Weekend, with a stirring version of Waltzing Matilda thrown in for extra measure.Of course there’s gonna be an encore, and the band spend their extra time on worthy versions of the classic teen-rebellion track Prisoner of Society, and a barnstorming West End Riot. Saluting, they leave the stage to screams and mass cheers. Judging by the post-show buzz and sweaty patrons of the mosh, it looks like the Melbournites have conquered the Sydney crowd again. And they are most welcome.