They came from the ‘90s

“You guys having a little bit of fun?” Dave Grohl wanted to know, pausing with his Foo Fighters for a moment Saturday during the KROQ L.A. Invasion concert at the Home Depot Center in Carson. That question for fans came midway through the band’s explosive, playful set, and the answer arrived in the form of unsurprising roars of approval.

There was a lot of that at KROQ’s annual concert, which delivered a full day of live music from the station playlist, much of it from rock heroes with deep roots in the ‘90s. Besides the Foos, there were the Smashing Pumpkins, Velvet Revolver’s Scott Weiland, Cypress Hill, Chris Cornell and Kid Rock. Either by design or circumstance, it was like a classic Lollapalooza lineup and still vibrant enough to represent a “modern-rock” show.

Earlier in the afternoon, one of those figures was Perry Farrell, who might have been this roster’s ringmaster a decade ago (and still fills that role at his annual Lollapalooza festival in Chicago). Leading his new band, Satellite Party, Farrell mixed his lush new sound with older tunes, beginning with “Stop,” a song still as anxious and stirring as in his Jane’s Addiction days.

The Foo Fighters delivered the most satisfying set of the night, beginning with Grohl alone with a guitar strumming and singing “Everlong,” chewing gum between lyrics. He was joined by the band in time for the hard-rocking “Monkey Wrench” and “My Hero,” all three from 1997’s “The Colour and the Shape.”

That hit album is still the band’s top-selling release, and it was recently reissued for its 10th anniversary. But songs from the Foos’ upcoming “Echoes, Silence, Patience & Grace” also connected easily, including “The Pretender,” already a station hit.

The top-billed Smashing Pumpkins, making their first L.A. appearance since returning to action earlier this year, opened their set with a noisy, bristling guitar windout that included a bit of “The Star Spangled Banner.” Leader Billy Corgan, once again finding a connecting thread between classic rock and the alternative aesthetic, made his guitar sound something like an axious overlapping of Sonic Youth noise and the flamboyance of Brian May.

Any longtime fans upset that Corgan has chosen not to reunite the original lineup could at least be comforted by the force of his delivery, as he worked again on a big rock scale, and with material drawn from the new “Zeitgeist.” Looking back, he sang a vulnerable “1979” accompanied only by his acoustic guitar, the raw delivery adding to the song’s urgent, shimmering emotion.

Velvet Revolver has added some welcome psychedelic flair to its hard-rock sound with its newest album, “Libertad.” That didn’t always come across in the day’s sometimes muddy live mix, but “Last Fight” was a fiery melodic anthem, with a surprising bit of Sly Stone.

The band, which includes some former members of Guns N’ Roses, also reached back into its past, and a performance of GNR’s “Patience” caused a noticeable stir in the air, as the crowd sang along and held up lighters and cellphones, even if GNR isn’t exactly a regular part of the KROQ playlist.

Much like Weiland, Cornell is one of his generation’s most iconic and natural frontmen, with a stirring wail he once put to good use in Audioslave and Soundgarden. His band on Saturday was ready to match those vocals, delivering big riffs and beats as stage fog evaporated in the fading daylight, though Cornell was at his best when standing alone to sing “Like a Stone,” from Audioslave’s 2002 self-titled debut album.

Kid Rock stepped out amid grinding go-go dancers in a black hat and white track suit for his supercharged collision of hip-hop and classic rock, including bits of AC/DC’s “Back in Black” and Lynyrd Skynyrd’s “Sweet Home Alabama.” The title song from his upcoming album, “Rock N Roll Jesus,” had energy and a full-bodied arrangement of players and backup singers, but the tune never quite coalesced into anything nearly as memorable as the FM sounds he worships.