TAMPA The last time Jane’s Addiction and Nine Inch Nails shared a bill was the inaugural Lollapalooza festival in 1991. The bands were at very different points in their careers. Jane’s was at its commercial peak but also about to split later that year. Nine Inch Nails, however, was finally breaking through to the mainstream thanks to two years of hard touring behind its debut, 1989’s “Pretty Hate Machine.”

Saturday was the second night of the tour reuniting the bands and again, they’re at different places. Jane’s original lineup is finally back together, with long-time holdout bassist Eric Avery back in the fold. Meanwhile, Nine Inch Nails front man Trent Reznor is calling this the band’s “farewell tour.”

Reznor, though, showed no sings of burnout before a Ford Amphitheatre crowd of about 12,500, offering a set that was as tight and focused as a fist. He performed 20-year-old numbers such as set opener ”Terrible Lie” as well as a “Head Down” from last year’s “The Slip” with equal vitriol.

In fact, Reznor and guitarist Robin Finck seemed intent on taking out their frustrations on their equipment, hurling guitars, knocking over speaker columns and kicking microphone stands.

Besides the lights and plenty of dry ice, NIN’s show was stripped-down and focused on mostly familiar numbers such as “March of the Pigs” and the set-closing pairing of “Head Like a Hole” and “Hurt,” with a pulverizing take on Adam Ant’s “Physical” tossed in for good measure.

Jane’s opened with “Three Days,” a 10-minute epic that celebrates a ménage a trois as the ultimate psychedelic experience. It wasn’t only a powerful kick-off, it was practically a statement of intent. Rock ‘n’ roll has no shortage of band’s signing the praises of sex and drugs, but Jane’s front man Perry Ferrell embraces them as keys to breaking on through to the other side.

Of not. Jane’s revels in the earthy and the transcendent, higher and lower consciousness, the ridiculous and the sublime – Ferrell’s outfit, a sliver lame jumpsuit, feather boa, top hat and boots covered both.

The quartet sounded well-rehearsed and confident, although there was a sense of them playing it safe, perhaps inevitable this early in the tour.

Still, they were powerful especially on “Ted, Just Admit It,” which Stephen Perkins drove into a frenzy with his pagan-ritual drumming. “Mountain Song” and “Ocean Size” closed out the set before an encore of “Stop” and “Jane Says.”