My, how times change. Thirty years ago, concerts by The Who attracted legions of disaffected young people, none of whom were inclined to trust anyone over 30. Now, after more than three decades of rock ’n’ roll, the band and many of its fans are coping with graying hair and midlife crises.

Monday night in the Tacoma Dome, the unmistakably sweet aroma of weed added to the ’60s ambience. For many, there was a “been there, done that” feeling, but one had to be stoned to really dig it.

After a short wait, The Who came on to the strains of “Can You See the Real Me” and then launched into the rock opera “Quadrophenia.”

A high-tech video screen carried the story's narrative in images of startling clarity. Scenes of crashing surf, rebellion and riots recalled conflicts between England’s mods and rockers.

“Quadrophenia” never achieved the popularity of “Tommy,” their phenomenally successful earlier rock opera, but it still reveals The Who’s inimitable brand of rock ’n’ roll.

Backed up by a five-piece brass section, a second drum kit, keyboards and a pair of vocalists, The Who did the material proud. It was an extraordinary show by one of the great rock ’n roll bands of all time.

Generating an almost primal force, guitar wizard extraordinaire Pete Townshend has lost none of his vaunted intensity. Roger Entwhistle was a solid, unshakable virtuoso on bass. Whirling his hand-held mike around him like a demon dervish, Roger Daltrey strutted about the stage – a commanding vocalist of extraordinary dimension.

Gary Glitter, as an aging rock star, and Billy Idol, as a disaffected mod turned bellboy who only wants to be a hero, presented a study in contrasts. Decked out in black leather and studs, Glitter was the very picture of a degenerate rocker. Idol, spiffy in suit and tie, was ever the arrogant rebel. Melding their voices with those of Daltrey and Townshend, they created an impressive vocal blend.

Like all good operas, “Quadrophenia” built to a grand climax, each musical number contributing to the general musical synergy.

The concert opened with a set by Hovercraft, who indulged themselves with a long, rambling, 34-minute jam, which built to a 747-like roar before a psychedelic video backdrop of unfolding flowers, moths, butterflies and space launches.