Hot House Flowers
- Feb 11
- 3 min read
Hot House Flowers and Paul Jackson live at Freo.Social | 11 February 2026
There was a summoning of great many o’ Irish at Freo Social. With many coming to catch the wild antics of Hot House Flowers and laid back, warm acoustics of support act Paul Jackson. Punters who were lucky enough to cosplay the experience of sardines were treated to a night filled with wild, raucously Irish instrumentation, and warm, introspective moments which emanated Irish soul.
Paul Jackson brought the easy-going qualities of a streetside busker onto the stage.
Announcing he in fact resided and played on the city streets of Ireland throughout the year. These qualities allowed his set to take punters alongside a poetically lyrical journey.
Jackson’s music explored themes that began with the personal (‘Valentina’) and another which explored his identity of being an Australian overseas. With this song serving the purpose as a lyrical identity card, so Irish folk could know he was a dinky die Aussie. Musically communicated that despite feeling out of place, Jackson took ownership of being far from his roots.
There was warmth in Jackson’s acoustic style, and ballad-styled lyrical delivery. With later songs in his set taking a swing to the almost libertarian, anti-establishment angle. It was clear the rebellious qualities of the Irish had left a mark upon Jackson from his residing in the Emerald Isle.
Hot House Flowers emerged on stage one-by-one to cheers from punters. Wearing a wide-brimmed hat, and looking incredibly at ease behind the keys. Lead vocalist Liam Ó Maonlaí glanced at punters cheekily, setting down his hat and playfully trying to set up the keys. Making the descent into their set feel nearly seamless and like they had been sitting sneakily in front of punters the entire time.
That was the live magic behind Hot House Flowers. With the band having a deft ability to swing a pendulum between the wild and rambunctious, to the quiet, earthy, soulful. The start of their set was met with a hefty funk beat, and space being open for different band members to improvise on their respective instruments. This made their set feel a Sunday afternoon jam session, with a jazz-like improvisational quality filling the air, and compelling the punters to dance on.
There was a play of their famous cover of Johnny Nash’ ‘I Can See Clearly Now The Rain Has Gone’, which adding their own rock n’ roll flair to the song, lifted punters up into a frenzy. There were introspective moments when Maonlaí sung in Gaelic. But was met with a stray punter yelling ‘Free Palestine’, with other members following suit in the name of liberation screaming ‘FREE BEER’. With punters chuckling in response to the back-and-forth.
Maonlaí offered his own two cents by deftly acknowledging the war and violence had to stop. But touched upon the past struggles of the Irish people, who became colonized for centuries. Announcing that colonialism was a mindset which had to be shaken off. There were light moments to balance the political. With the band announcing punter named Kelly from ‘up north’ (likely a previous show) to dance on stage with the band. With the crowd screaming Kelly on in jubilation, she busted a move as a band threw down into a exciting set.
The night finished with a quiet moment from guitarist Fiachna Ó Braonáin singing a song in Gaelic by his farmer grandfather who wrote and recorded an album well until his old age. This felt like a vigil for Irish artists past and present as Braonáin solo belted out several verses in Gaelic that felt of home.
Finishing off with an intense jam out, Hot House Flowers signed off with Braonáin ripping into a solo on an Irish tin whistle. With the stage lights shining a fantastic shamrock green, and there undoubtedly being many old Irish expats in the crowd.
Who were feeling the tug of the rolling green hills of Ireland, as they belted out each bold chorus out again, and again. Showing Hot House Flowers were a band that made you feel at home, even if you felt far from it.
Review by Joe Wilson
Photography by Chris Symes
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