Live Review: La Dispute @ The Gov 21/10/26

"We love and we rely / On the beauty we can find / To make it through." – Jordan Dreyer, La Dispute, 'Sibling Fistfight at Mom's Fiftieth / The Un-Sound', NO ONE WAS DRIVING THE CAR (2025).

There is a cathartic beauty in the realms of punk and hardcore music. Understandably, the art form may broadcast a "dangerous lunacy" motif, but the magnificent maelstrom of these aggressive musical explorations is often perceived as beautiful.

When Jordan Dreyer screamed these exact words (quoted above) during La Dispute's virtuous headline exhibition, the audience and the bands united in a love for these scintillating soundscapes. We found beauty in what we love and rely upon, together, with a glimmer of magical madness.

"Magical madness" – what a brilliantly befitting description for emoviolence skramz quartet With One Exception. The four-piece didn't allow for any introduction; they instigated intensity once they crept onto the stage, and it was incredible.

A dissonant, delightful derangement of blackened screamo noisecore was not just heard, but felt by the growing crowd who had surrendered to this chaotic entrancement. Screams of animalistic extravagance, bombardments of soul-shaking rhythms and resounding raw riffage radiated from Adelaide's With One Exception in an epic splendour of artistic expression.

Channelling modern musical acts such as Blind Girls, Rolo Tomassi, Foxtails and Stockades, but gravitating to the "basement era" of the sonic landscape, citing influential outfits like Orchid, pg. 99, as well as Saetia, WOE dazzled their devotees and onlookers superbly. Featuring tracks from their sensational split EP with Chigaki Death Metro, the beauty was certainly found and loved.

To be frank, With One Exception would suit the Deathwish Inc. roster splendidly, and what is especially endearing is their humility and enjoyment in their creativity. The quartet are often smiling, dancing and conversing with their spectators during their performance. They divinely engage the audience with their enthusiastic beliefs, (thankfully) expressing the "Free Palestine" message wholeheartedly to adoring cheers. The four-piece also soar when their music adrenalises them, throwing their instruments around like weapons, and jumping joyously - even knocking over drum cymbals.

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What magical madness.

"Hello, hello, hello!" guitarist/vocalist from Brisbane's Special Features, Zac Carr, greeted Adelaide.

Moments later…

"Let's go!"

'Che Guevara T-Shirt' was an introduction like no other. An uppercut of political punk poetry, indie pub-rock energy, and an amazing amalgamation of Chat Pile and The Birthday Party creating their own orchestra of absurdity. Barely one minute into the showcase, frontman Jeremy Sankey was already at the barricade and off The Gov's platform.

What an entrance.

"This is INSANE! Adelaide is the best, and I am not just saying it," Carr expressed in glee.

'Fun!' was an alt-drone-rock venture that somehow projected as Skegss' Ben Reed fronting Kowloon Walled City in an excellent escapade of pop experimentation. It should be noted that during this presentation, and numerous after, guitarist Karissa Liu and bassist/vocalist Jeremy would often exchange instruments, demonstrating the astounding versatility and talent of these artists.

The quartet journeyed through magnetic musical panoramas including post-grunge that would have intrigued the members of Silverchair, emotional hardcore punk similar to the UK's High Vis, and a post-punk experimentation that is remarkably unique and beloved simultaneously.

'Poles' was a harrowing highlight in its brash honesty and building ferocity. It left the sold-out audience speechless, yet bewildered and enraptured by Special Features' vivacity and dazzling loud/quiet movements.

The four-piece will have an album ready for release in 2027. It is more than likely that this LP will have beauty we can find, to immense levels.

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Arguably one of the most vital and underground acts of the emo movement was a group called Rites of Spring from Washington, D.C. The band only lasted from 1984-1986, but their standout approach of abrasive, raw hardcore speed with melodic and sensitive lyricism was truly trailblazing.

RoS would also incorporate flowers into their shows, which would more often than not encounter obliteration, as well as the musicians' instruments.

These were broken in the theatrical delivery of their demonstration.

"We love and we rely / On the beauty we can find / To make it through."

On this night, Michigan's modern post-hardcore luminaries La Dispute were potentially paying tribute to this life-changing act, but only subconsciously, maybe unconsciously…

How? For the reason that attached to frontman/lyricist Jordan Dreyer's microphone stand was an arrangement of flowers.

The cathartic expedition was ready to begin.

"Hey! We are La Dispute," Mr Dreyer exclaimed ever-so politely as the quintet whisked onto the stage.

Drummer Brad Vander Lugt set the entire venue's heartbeat with his pulsating yet rhapsodic rhythm, as Dreyer launched into his shouting articulateness that would become the scintillating single 'I Shaved My Head'. Instantaneous dancing burst forth from the dynamic frontman, utilising every inch of The Gov's platform, as well as any item he could climb on; he escalated in every aspect of performance majestically.

Dreyer's athleticism was beyond magnetic and infectious. Devotees were soon prancing away, many crowd-surfed in elated ecstasy; in all honesty, Adelaide had become the choir for La Dispute, and it was above captivating.

'Man With Hands And Ankles Bound' undertook a sensational severity that propelled the five-piece into a new echelon of feverish exhilaration. This writer has witnessed the Michiganders multiple times since 2009, but this was potentially the most robustly rockin' exhibition South Australia had the honour to experience.

"Adelaide, what a privilege it is to be back here. Thank you for taking care of us," JD divulged in heartfelt gratitude.

'Sibling Fistfight at Mom’s Fiftieth / The Un-Sound' encapsulated the essence of this show flawlessly – scowling yet sentimental all at once. 'Woman (reading)' counteracted the lunacy with lusciousness in the form of jazz-pop spoken word delicacy. It is phenomenal how transcendent La Dispute can be with their astonishing art.

READ MORE: Live Review: August Burns Red @ The Gov 29/09/26

'King Park' was a marvellous monstrosity of wildness, with the loudest sing-along The Gov has possibly ever experienced: "Can I still get into Heaven if I kill myself? Can I still get into Heaven if I kill myself?"

Literally, this anthem stopped time, and the spine-chilling aura is nearly impossible to describe.

Dreyer went on to describe how lucky the quintet felt that they were still able to perform around the world, especially after COVID. He also thanked the supporting bands for this evening and communicated that by saying, "Good lord, there are so many great bands in Australia", much to the audience's contentment.

'View from our bedroom window' was a storytelling marvel that magically transformed JD into a theatre actor with his impassioned dramatisation. 'Landlord Calls The Sheriff In' furthered this transition into a cinematic atmosphere, where South Australia was transported into an Alfred Hitchcock ambience that was gloomy and glorious.

Dreyer spoke about his first visit to Adelaide, and how he holds a battle scar from cutting his foot at their first show. He discussed the importance of punk and hardcore, how it grows in importance, helps us move forward and toward the future. He encouraged love, especially for the ones we all care about. Most importantly, he ensured we understood that there are more of us to fight the evil leaders in this world; we have to continue to strive to make it better.

"Everybody is allowed to thrive and survive. Free Palestine!" he yelled passionately.

We were enraptured.

'Why It Scares Me' pulsated heftily in an entrancing journey of emotional turmoil. 'Andria' was an affectionate adventure of enchantment, inspiring a clap-along, and a country-western slide guitar eminence that was above mystical. A non-core was fantastically undertaken. 'No One Was Driving The Car' became a haunting acoustic expedition of troubling luminance featuring only Dreyer and guitarist Chad Sterenberg.

'Environmental Catastrophe Film' is a necessity for an independent film of resplendent prestige to include in its narrative, or at least soundtrack. In all sincerity, if this comes to fruition, there is Academy Award potential. Witnessing it live was supernatural.

'Such Small Hands' concluded La Dispute’s return ceremony, exquisitely.

"We toured Australia before Europe; you are our family. We will be back," Dreyer promised.

Flowers were then thrown to the sold-out audience.

"We love and we rely / On the beauty we can find."

Thank you for the beauty, La Dispute.

Want more pics of the gig? Check out our full photo gallery here.