It only takes a quick glimpse around Sydney's State Theatre on this Saturday afternoon (31 January) to discover what an intergenerational experience a Whitlams gig has become.
Before the lights dim, elderly couples hold hands and reminisce while children squirm in their seats as their ever-dutiful mum explains what's about to happen – as well as who's sitting where in the Sydney Symphony Orchestra (SSO).
Whether you were there when the band first kicked around Sydney's inner west's pubs in the early '90s, whether you were raised on their music, or whether you're raising your own on their music, few bands could make an all-ages show feel more literal.
It's been over 20 years since the band first dabbled with these orchestra shows, blending the piano-lead pop-rock of their studio work with all sorts of bells and whistles to great effect.
They're old hands at it now, but there's still a certain kind of magic when these worlds intersect and the swell of strings and horns overtake proceedings.
In fact, that's exactly how things begin here – only frontman Tim Freedman and his daughter Alice emerge at first, tenderly duetting on the band's 2006 track 'Beauty In Me'.
With neither playing an instrument, the duo instead allow an entirely-orchestral arrangement to unravel behind them.
The slowed pace of the new version allows for the song's stark lyricism to truly shine, while the junior Freedman's voice is a total revelation.
It's a deeply emotional note to start on, which is only accentuated by the rest of the band joining Freedman and the SSO to complete the famed 'Charlie' trilogy from 1997's 'Eternal Nightcap'.
The songs commemorate the life of Whitlams co-founder Stevie Plunder, who passed away 30 years ago last month, but have long since taken a life of their own for anyone who has struggled with the monumental loss of a close friend.
The glassy eyes in the room turn to open weeping when 'Buy Now Pay Later (Charlie No. 2)' plays out – its arrangement taking the already-devastating song to a whole other place.
The Orchestra isn't here for an extra dollop of sentimentality, mind you. Another 'Eternal Nightcap' cut, 'Up Against The Wall' is given an even darker and broodier arrangement that provides plenty of swing and low-end horns.
Elsewhere, 'Out The Back' is a living tribute to the late Peter Sculthorpe, the composer who did the original string arrangement and a man of whom Freedman speaks fondly.
Halfway through the song, the band down tools and simply admire the SSO's spellbinding performance of Sculthorpe's vision for the underrated 'Torch The Moon' track.
For all of their achievements as a collective unit, The Whitlams can't help but be in awe of what this ensemble are capable of in moments like this.
Freedman encourages the crowd to get up and dance for the brassy 'You Sound Like Louis Burdett', and dozens take him up on it.
The reminiscing elderly couple are dancing cheek-to-cheek, while a toddler is propped up onto the stage by her mum with both smiling from ear-to-ear.
There's elation in the room, and a profound appreciation triangulated between the band, orchestra and audience in these final moments. What luck we still get to do this.
