Oklahoma still hearts the 90s, as evidenced by the sold-out Smashing Pumpkins show Friday night at Cain’s Ballroom in Tulsa.

The Chicago-based act rose to the ranks of Nirvana and Soundgarden in the early part of the decade on the heels of a barrage of smash singles, huge tours and critically acclaimed albums.

The later part of the decade began a downward spiral that ended with the band breaking up in 2000. Smashing Pumpkins resurrected with half the original lineup in 2006 for a single album (“Zeitgeist”) and transformed into its current lineup — with Billy Corgan standing as the only original member — in 2009.

Smashing Pumpkins is currently in the midst of releasing the 44-track “Teargarden by Kaleidyscope” — a series of EPs that will eventually culminate into a physical, box set release. However, the quartet opted to do a set that spanned the full breadth of the band’s tumultuous career on Friday night and shed any doubt that it won’t continue strongly for another 20-years.

The evening launched off with Los Angeles upstart Cherri Bomb, an all-girl group with a median age hovering around 13 that pumped up the crowd with surprisingly competent hard rock tunes and the sort of energy you would expect from a group of teenage girls.

Next up was OKC’s own The Pretty Black Chains, who nearly stole the show with an explosive 45-minute set of new material that felt all-too suited to the historic Tulsa venue. The four piece played with the swagger you would expect from a band who played sold-out shows nightly, even though this was the band’s first time to play for a crowd this large. Lead singer Kellen McGugan’s vicious howls finally had the space they deserve, while Derek Knowlton’s nasty guitar licks and Kurt Freudenberger’s hammering percussion meshed into a sound that felt arena-ready. And the crowd ate it up.

Of course the group of the hour was the Pumpkins, and it hardly disappointed.

The band played a decidedly heavy set, favoring the hardest songs in its repertoire and bringing a rougher edge to its more delicate material.

The band dipped into its earliest and newest material equally, beginning with the Zeppelin flavored “A Song for a Son” and finishing its opening set with the cherished 1995 single “Tonight, Tonight.”

The crowd roared with each opening chord of hits like “Today,” “Bullet With Butterfly Wings” and “Cherub Rock,” but were equally excited for newer singles like “Tarantula” and the band’s latest, “Spangled.”

The crowd was forgiving of a few key missing entries (“Disarm,” “Zero” and “1979”), and enamored with the slurry of hard rock riffs it was continually being bombarded with. The tunes came fast and hard, annihilating the crowd of generally thirty and fortysomethings who were pining for the glory days of good tunes and good times.

Corgan is one of those fortysomethings — now at 43-years-old — but showed only the slightest wear-and-tear of the rock ‘n’ roll lifestyle. His voice is no longer as effortlessly high and eerie as it once had been but still plays the crowd like a rock star.

But the two-hour set was something that all generations could, and did, enjoy. The first half of the show was no nonsense, a relentless flurry of gothic alt-rock, but a bout of crowd surfing — taking place after a mind-blowing 10-minute drum solo by 20-year-old drummer Mike Byrne — did get Corgan to stop and chat with the crowd. For nearly 15-minutes, Corgan talked about the honor of playing at Cain’s, his admiration of Bob Wills, the meaning of “Mayonnaise” (jerking off, he joked) and, of course, his aversion to crowd surfing.

“What a new idea,” Corgan said. “That’s such a f*cking nineties thing to do.”

So very appropriate.

Setlist

1. A Song for a Son

2. Astral Planes

3. Today

4. Ava Adore

5. Drown

6. As Rome Burns

7. Freak

8. Eye

9. Bullet With Butterfly Wings

10. United States

11. Spangled

12. Tom Tom

13. Cherub Rock

14. That's the Way (My Love Is)

15. Tonight, Tonight

16. Stand Inside Your Love

17. Tarantula

Encore

18. Landslide (Fleetwood Mac over)

19. Gossamer