A lot happened during Sleater-Kinney’s seven year hiatus beginning in 2006. The Olympia, WA band, which had been front-and-center during the era’s feminist punk “riot grrrl” movement, retired a couple years before the Obama administration began and returned a few years before changing political winds would shift dramatically to elect Donald Trump.

During those years, co-founder Carrie Brownstein starred in the hit alternative comedy series “Portlandia.”

Though it would be simple to cite the changing political climate as an inspiration in the band’s reunion around Brownstein and co-founder Corin Tucker, the group’s inspired concert in the Newport Music Hall last night reflected a far-more nuanced commitment to the music.

The band opened with the title track from its new “The Center Won’t Hold,” an ominous piece that cast its desperate emotional net a bit wider than simple romantic desire and set the broad tone of the evening with considerable drama.

By the third song, Tucker, who sang lead more often during the early days, indulged her inner Siouxsie Sioux with a delivery that paid tribute to ‘80s post-punk groups such as Siouxsie and the Banshees while still sounding contemporary.

Brownstein, too, was able to sound wizened and more emotionally complex during newer songs such as the new album’s “The Future Is Here.”

It seemed plain, then, that the band wasn’t just reforming in order to take on the same battles. Augmented by drummer Angie Boylan, keyboardist Yoko Yasuda, and keyboardist/guitarist Katie Harkin, it skillfully performed a good part of “The Center” as well as selections from 2015’s terrific and multi-faceted “No Cities To Love.”

Insisting that the struggle for gender equality that inspired the group at the outset is not over, though, the band reached back to its early catalogue with ease. “All Hands On The Bad One” raved with a garage rock fever only slightly diminished from its origin nearly 20 years ago.

Tucker and Brownstein both easily connected to the frustration that fueled their early performances, keeping the old punk rock songs from sounding like parodies and renewing their inspiration today.

Columbus quartet snarls, named by “Columbus Alive” one of this year’s “Bands To Watch” supported that claim well, with an opening set that—despite its lack of experience—echoed contemporary dream pop with a feisty independence.