Long before The Libertines even step onto the stage, there’s a certain electricity going through the fully-packed venue – anticipation running so high that it feels like a celebration, the audience happily singing along the mid-show playlist, eagerly waiting for the English rockers.

Dublin’s 3Olympia theatre has also been properly warmed up for the main event, with the wild, folk-tinted, high-impact rock music of Northern-Irish musician Thomas Urwin and his unforgettable band.

Quickly following is the Irish four-piece Hotgirl and their distinct brand genre-blurring, dark and riotous tunes. The musicians are bursting with fervour, from Ashley Abbedeen’s ethereal stage presence to the rest of the band's contagious excitement.

Hot Girl supporting The Libertines at 3Olympia Theatre. Copyright Jason Doherty.

By the time The Libertines kick off their set with ‘Run, Run, Run’, the opener from their latest – and well-acclaimed — album All Quiet on The Eastern Esplanade, the audience is riled up, all cheers as Peter Doherty, Carl Barât, Gary Powell and John Hassel begin playing. The band is just as animated, immediately sharing looks from across the stage, their chemistry almost palpable.

With their ever rapturous brand of rock music, and following their highly successful year, The Libertines have the audience at their fingertips, taking them through song after song and rarely stopping to take breathers, like they physically can’t slow down.

The Libertines at 3Olympia Theatre. Copyright Jason Doherty.

The dedication pays off – with every new track the temperature (both physical and metaphorical) rises a few degrees and the crowd sings back louder, dances with a little more enthusiasm – as demonstrated by the response to their anthemic song ‘Boys in the Band’.

“It’s an honour to be on this stage,” Barât admits after a few tracks, listing off legendary Irish artists who have stood there before him: he cites Sinead O’Connor, Shane McGowan, “and Lisa O’Neill”,  he finally announces as the Cavan-born singer-songwriter walks in, dressed in a simple, grey oversized suit, offering a captivating accompaniment on the stirring track ‘Night Of The Hunter’.

O’Neill and her distinctive moving quality as a performer is the perfect guest for The Libertines’ slower tracks – which are all lined with a layer of romanticism, but also desperate and heart-wrenching, contrasting with the rest of their fun-filled, fast-paced discography. As showcased by their classic track ‘What Katie Did’ or ‘Music When the Lights Go Out’, this quality that emanates from The Libertines’ ballads proves their ability to excel in varied soundscapes.

The Libertines at 3Olympia Theatre. Copyright Jason Doherty.

Their rock-forward tunes like ‘The Good Old Days’ are filled with euphoria and unruliness, offering the incredibly talented Powell to showcase his drumming skills with a high-octane solo, quickly accompanied by a thrilling bass riff from Hassel – effectively sending another bolt of electricity through the room.

No matter the genre of the track, Barât and Doherty are in perfect synergy, both vocal performances and guitar-playing blending together in absolute harmony – a testament to how much they’ve gone through together.

The Libertines at 3Olympia Theatre. Copyright Jason Doherty.

Elation reaches new heights on the iconic single ‘Can’t Stand Me Now’, Barât even pulling out his harmonica especially for the occasion, before throwing the instrument to his eager front-row fans.

The hour-and-a-half set is over in a flash, the joyfulness and excitement never dropping for a second as the band closes with the timeless bangers ‘Time for Heroes’ and ‘Don’t Look Back Into The Sun’.

The Libertines at 3Olympia Theatre. Copyright Jason Doherty.

As the gig ends, it’s clear that twenty years after their formation, The Libertines have lost nothing of their passion and vigour, affirming their place as live-performance royalty.