311. Omaha. Two words that go hand in hand.

When the opportunity arose to see 311 in their hometown, at a venue one-tenth the size of their usual arena, High Note was there.

An aura of pot, cigarettes and the body odor of 1,200 fans filled the air as soon as the doors opened, a good hour before the only band of the night took the Sokol Auditorium stage.

The focus of attention was a stage no larger than the one in Fisher Theater, closed off with a giant curtain.

The lights went out and the obstruction opened to reveal one of the greatest bands of the ’90s.

Giving a shout out to their hometown before launching into “Omaha Stylee,” frontman Nick Hexum muttered, “It’s good to be back where it all started,” provoking an already ecstatic crowd to scream even harder.

The assembly was so overwhelmed to be less than 100 feet away from their idols, no one noticed that they couldn’t move an inch. Where the crowd ended up when they walked in the door is where they stood for the show’s entirety.

The performance was just as jam packed with energy and personality, as each member of 311 displayed their own way of enjoying the special night.

Vocalist/turntable wizard S.A. Martinez danced around the stage, doing his own personalized version of The Robot. Guitarist Tim Mahoney stretched his smile from ear to ear.

Bragging to the world that he couldn’t be happier with what he’s doing, bassist P-Nut flaunted an unforgettable, goofy-like facial expression.

Drummer Chad Sexton wore a look of complete concentration, focusing on his always-complex drum art. And Hexum worked the crowd to a point of perfection, moving around stage and waving his hands to every lyric he chanted.

311 featured many songs from its debut and sophomore efforts, “Music” and “Grassroots,” while dropping a few tracks from its latest release, “Soundsystem,” as well as its breakthrough, self-titled album.

The band played only two songs from the much-criticized, 21-track “Transistor.” And past radio hits such as “All Mixed Up,” “Don’t Stay Home,” “Do You Right” and “Transistor” were nowhere to be found.

The fan-dedicated “Down” and upbeat tracks “Hive” and “Can’t Fade Me” rocked the entire room, while raw melodic energy flowed from songs like “1,2,3” and “Beautiful Disaster.”

Mahoney was flawless as always, hitting every solo note-for-note, however Sexton’s drum solo lacked the wonderment of past performances.

The ever-popular catch phrase, “Yo P-Nut, beat thang,” brought on his astonishing bass-slapping techniques equivalent to Primus’ Les Claypool on the set-closing “Feels So Good.”

The hall was suddenly dark, and 311 was off the stage.

The congregation knew they had just experienced something spiritual and mustered up enough energy and noise to bring the band back on stage for one last song.

Most fans knew what song it was before it even began, as the words “Fuck the bullshit” were shouted from all directions.

The high-energy final track from “Music” ended what should go down in history as one of the most amazing small-venue shows of all time — 311 in Omaha.