For every significant moment in life, there is a soundtrack. Sometimes it’s personal, sometimes it’s shared with a wider group. And occasionally it feels like we come together on songs that denote powerful moments for us all.

So it was in 1967, the year Australians went to the polls to vote overwhelmingly in favour of removing discriminatory references to Aboriginal people in the constitution. Although the 1967 referendum did not improve Indigenous lives as much as was hoped, it was nonetheless a significant moment for all Australians.

Just as the US civil rights movement of that same era was underscored by powerful anthems, there was – and continues to be – a catalogue of songs that tell of the Indigenous Australian experience of that time. What better way to reflect on progress – or the lack thereof – than with a concert of those songs, performed by the rising generation of Indigenous performers?

Tuesday night saw the world premiere of 1967: Music in the Key of Yes at the Sydney Opera House as part of Sydney festival. It brought together Indigenous singers Dan Sultan, Thelma Plum, Ursula Yovich, Leah Flanagan, Emily Wurramara, Radical Son, Alice Skye and Yirrmal, with rock performer Adalita joining the lineup as a special guest.

Yolngu man Yirrmal opened the show with Garruku, a powerful Indigenous-language song. Then each of the artists stepped into the spotlight: Emily Warrumara and Alice Skye sung Warumpi Band’s ever-popular Ronu Wanga/My Island Home, before Radical Son performed Archie Roach’s Took the Children Away and Sam Cooke’s A Change is Gonna Come.

The songs were fitting for both the occasion and each performer. Adalita stepped forward for a rocking version of Goanna’s Solid Rock, then Patti Smith’s People Have the Power. With her mighty voice, Ursula Yovich performed a rendition of Nina Simone’s I Wish I Knew How It Would Feel to Be Free, while Thelma Plum put her own spin on Simone’s Feeling Good.

Black and white archival footage of the referendum campaign played on screens behind the performers. It told of two very different Australias: the casual racism of those in cat-eye glasses and house dresses juxtaposed with the impoverished circumstances of Indigenous Australians. Just as US civil rights anthems were scattered throughout the set list, there was also footage of what was happening in the United States at that time, with weirdly grimacing ads for 50s hair products sitting next to footage of bloody protest clashes.

The campaign’s momentum was marked by footage of speeches by Aboriginal leaders including Faith Bandler and Pastor Doug Nicholls. There was also footage that showed both the Labor and Liberal parties encouraging Australians to vote in favour of the changes. The 90.77% yes result was resounding in itself, yet it’s even more notable given how difficult it is to imagine an issue that would unite so many Australians today.

Much of the show’s joy came from the diversity of genres, ranging from Alice Skye’s stark ballad You Are the Mountains giving way to Yirrmal’s Deep Blue Sea, then to Leah Flanagan’s funky version of Curtis Mayfield’s We The People Who Are Darker than Blue. Kudos, too, to the musical direction that fused electric guitars and violins with traditional instruments such as the didgeridoo and clapsticks.

While Sultan and Adalita were notable headliners, all performances were strong, with only the talented Thelma Plum somewhat underutilised. The unquestionable standout was Yirrmal, who sung all his songs in language.

The finale saw all nine artists on stage for Midnight Oil’s Beds are Burning. Despite the strong individual performances, the sum of vocals felt most powerful and there was a swell of emotion from the crowd as the group moved on to the finale, Yothu Yindi’s Treaty.

For an encore, Sultan stepped into Joe Cocker’s boots for a passionate version of With a Little Help From My Friends. Emily Wurramara’s cover of the Beatles’ Blackbird was given particular weight by Yirrmal’s traditional dance performed behind her. Then Yirrmal stepped forward for the final song – Wukun.

Talented musicians singing about civil rights issues combined with a dash of 60s nostalgia made for an inspiring and satisfying evening. Yet there was a palpable sense of how much a comparable civil rights fight and similarly impassioned songs may be necessary in our current political climate, and this hung heavily over the audience as we drifted into the hot Sydney night.