Hot Water Music - Gig Review & Photo Gallery 20th February @ The Gov, Adel SA

Hot Water Music
The Gov, Adelaide SA
February 20, 2025
Support: The Flatliners and Something Something Explosion

“We've grown to be family.
With the healing songs we share, I open my eyes.
And you're all still here.” - ‘Much Love’, VOWS, Chuck Ragan, Hot Water Music 2024.

‘Much Love’ was the 17th song the Floridian Southern Gospel punk rockers Hot Water Music passionately performed at their first Adelaide headline performance in 14 years. These 20 words carried an honesty and momentousness that had not been felt by everyone in this room before at The Governor Hindmarsh. Chuck Ragan’s glorious gravelly croon incredibly stopped time, and the punk rock community present at this moment knew, we were all family.

So, please let this writer tell a story about “the kindred” and “the healing songs” we shared together on this memorable night.

Toowoomba-via-Melbourne’s punk rock trio Something Something Explosion had the distinct honour of opening this event (as well as numerous others on the tour) and were above aglow at the opportunity. With a particularly early start, the three-piece were presented with the slight predicament of a modest audience; but they ensured that the small assembly became elated admirers very quickly. ‘Sick’ was an eruption of energised Riot Grrrl revelry that walloped the witnesses to pay attention. ‘Bennett’s Song’ showcased a grander exploit of musicianship similar to A Wilhelm Scream collaborating with Carrie Brownstein, and ‘Burn It Down’ was as if The Superjesus had reimagined Blink-182’s ‘Man Overboard’ with a steroid injection of tremendous tenacity.

The cover of Joan Jett & The Blackhearts’ ‘Bad Reputation’ provided that edge of excitement for the onlookers and this led into the mental health awareness driven anthem ‘3AM’ flawlessly. Vocalist/guitarist Grace Drummond spoke gracefully about the importance of reaching out if there are problems that need to be discussed and the single itself would have made Arizona’s Doll Skin jump with envy and ecstasy; especially with Grace’s stellar vocal delivery. ‘Gasoline’ was an onslaught of heavy from SSE and ‘Motormouth’ accelerated everything the trio do so well with a Frenzal Rhomb instruction (Jason Whalley does feature on the recording). At this point, ‘Explosion had the attendees collectively immersed and undoubtedly their next Adelaide visit will have the converts at front and centre to be there as part of their new South Australian family.

Before Canada’s cherished polite punkers The Flatliners had even completed their line-check, their committed adoring advocates had already crowded the stage in anticipation. The hard-hitter ‘Performative Hours’ was a high octane pummelling to open the showcase and almost instantaneously, members of the audience wrapped each other in arm-to-arm embrace, jumped uncontrollably and screamed along. ‘Hang My Head’ slowed the frenzy down to allow the fanbase to sing-and-dance in affectionate admiration. ‘Oath’ channelled Against Me! rigour but it was undeniably The Flatliners in their full sensational swing, especially with their math-punk leaps between the loud-to-quiet-to-LOUDER dynamic. ‘Count Your Bruises’ added some jangle to the joyousness, ‘Caskets Full’ was the song The Ataris wish they penned over two decades ago with Tim Armstrong’s encouragement; however, The Flatliners accomplished this first, and fantastically. ‘Indoors’ was simply poetic and amplified the reverence of the entire exhibition.

‍‘Resuscitation Of The Year’ was as if CW Stoneking had a punk makeover (yes, that phenomenal) and ‘Sew Myself Mouth Shut’ pulverised that notion with some glorious garage rock acceleration.

‍‘Souvenir’ was THE track that Bayside would be jealous of, ‘Monumental’ was exquisitely crushing and ‘Rat King’ had a brilliant Boston-edge that The Neighbourhood would have embraced. As dapper guitarist and songwriter Chris Cresswell described: “This is an anti-racist song for anti-racist people” and everyone present celebrated that dedication. The irony that THE ENDING had to be ‘Eulogy’ was almost too perfect. A heartfelt anthem that The Flatliners will need to play for as long as they are capable, but it “will be celebrated” and “never be forgotten”. Essentially, the remarkable feeling for this single is ‘Much Love’ and a headline tour is not just requested, it is required.

“Show some love and open your arms.” Chuck Ragan gruffly croons with his eyes tightly fastened, but his heart welcomingly opened. The song is ‘Menace’, the band is Hot Water Music, the location is The Governor Hindmarsh, Adelaide, and this audience is the emotional punk quartet’s family on this night.

“Do we suffer? Only to recover.” Chris Cresswell angelically serenades the attendees (again) in that same track – those six words have never sung truer. 14 years is an eternity, but there is No Division, the ‘Remedy’ is upon us.

‍‘A Flight And A Crash’ and ‘Jack Of All Trades’ were wonderfully wistful and a sensational reminder of how timeless this trailblazing emocore outfit’s music actually is. ‘Habitual’ was an astounding narrative of poetry that possessed so much more power in a live setting. ‘Turn The Dial’ allowed Creswell to be a conductor of this post hardcore punk symphony, and Mr Ragan spiralled into his own punk rock paradise; at 50 years old, the gruff grizzly bear of soulful rock still hits full flight when that adrenaline strikes.

‍‘After The Impossible’ was sheer magnificence, even with the absence of Dallas Green (for rather obvious reasons), this is a composition beyond elegance and Bruce Springsteen should be made aware of this single as soon as YESTERDAY. ‘Burn Forever’ was amazingly athletic with glorious to-and-fro between Chris and Chuck. ‘State Of Grace’ allowed for the admirers to sing-and-swing along in rapture. ‘At The End Of A Gun’ wound back the clock in splendorous fashion and the “UNIFY” shout was breathtaking. ‘Mainline’ shook everything and everyone righteously in preparation for the terrific time-travel that was to take place. ‘Difference Engine’, ‘I Was On A Mountain’, ‘Wayfarer’ and ‘Turnstile’ were all executed in a delightful display. Remarkably these performances were given as if the band were in fact, on the same stage, but 25 years prior, with the same club show crowds HWM built their legacy with. Caution was unquestionably thrown to the wind by the four-piece, and thankfully so.

Mr. Ragan finally took a breather to meticulously thank all in the building and assured us that Hot Water Music will return as soon as they are able to. He went on to introduce ‘Drag My Body’ as a composition that will hopefully help people struggling with the warped world we currently live in: “Use music as a form of therapy” – what a magical message it is. Jason Black’s bass presence was honestly commanding on this unforgettable tune. This bass-wizardry was exemplified on ‘Free Radio Gainesville’; Jason certainly avoids the spotlight when he can, but his thunderous and rigorous abilities are felt in epic waves through other marvellous mediums and sensations.

‍‘Much Love’ was to-be-frank, exactly and enchantingly that; even that seems understated. ‘Remedy’ incited that wondrous punk rock valour with the summer sweat radiating from practically every body on the dancefloor. ‘Trusty Chords’ understandably was the necessary closer of this overdue return. Sing-alongs, group hugs and eventually Chuck was practically pulled offstage so he could be hugged and thanked by Hot Water Music’s family.

“And you're all still here.”

We will be next time too.

Review by Will Oakeshott @TeenWolfWill

Photo Gallery by Daniel Hill @no.quiet.photography
Please credit Wall Of Sound and Daniel Hill if you repost photos.