GoodThings Festival, Flemington, Friday 5 December, 2025
Walking into Flemington Racecourse today felt like stepping into a living, breathing shrine to rock and metal. The crowd was a kaleidoscope of subcultures — punks, headbangers, emo kids, nostalgia-seekers — yet there was a unifying buzz of genuine excitement. Melbourne shined in perfect festival weather; a sunny 23 degree day, a blessing from years past with either the relentless heat or rain. You could hear the hum of excitment before a note was even played. Fans and the amazing line up of today’s bill, lit the energy that rattled through day. The merch tents, bars and food outlets consistently full of punters ready to spend their hard earned cash and smiles and the unity of music glistening on the faces of the crowd. The security and production were tight, and yet it all felt loose and free — you weren’t just attending a day festival, you were part of a moment.
By the time the sun dipped and the sunscreen tubs were emptied, the stagea were pulsing with a sea of raised hands and swaying sweating bodies. There was mosh-pit fury with a few circle pits throughout the day but there were still faces filled with anticipation lining the front baracades. People weren’t just watching — they were living it. It was a perfect annual return to form for Good Things, a festival that’s always been about heart as much as volume.
Band Highlights
Tool
Tool closed out the Melbourne leg with a headline slot, and it was nothing short of transcendental. Their blend of hypnotic grooves, sprawling instrumental passages, and Maynard James Keenan’s haunting vocals carried across the big stage like a ritual. The crowd swayed and nodded as complex rhythms shifted from haunting to heavy; Tool brought that trademark precision, building tension and releasing it in waves. It felt like timing did not matter — you were suspended in the moment, utterly caught up in their world. The sound production was on point and it must be said that the lighting, sound and creative director of this tour need a payrise for this amazing set.
Weezer
Weezer’s set was a nostalgic high point. Rivers Cuomo and the rest of the band leaned into their power-pop roots, and the crowd responded with pure joy. Classic sing-alongs — think Buddy Holly, Island in the Sun had the older crowd and generational lovers of Weezer in aural bliss. Their set felt like a warm hug: familiar, fun, and full of good vibes. You can see why this band have over 35 million album sales worldwide.
Garbage
Shirley Manson and Garbage brought the alt-rock intensity in spades. Their hour-long set was a powerful mix of ’90s anthems delivering both raw edge and polished melody. Manson owned the stage as usual with her fierce presence and even calling out a “dick” punter for a beach ball incident. Ranting about the use of beach balls and that musicians should be respected more, left a sour taste to what was an amazing set. With words inciting violence then backtracking cause “she was a lady” left the Melbourne audience a bit confused. Considering Machine Head literally gave the crowd blow up hammers to get the crowd going. Standing by her words on social media is one thing, but knowing the Australian Festival culture, it will be interesting to see if a swamp load of blow up beach balls will appear at their set in Sydney today. Either way, their set was solid and tight as you would expect with such accomplished musicians on board.
Machine Head
Machine Head injected some serious metal energy into the lineup. Their riffs were heavy and uncompromising; the drums thundered, and the bass rumbled through the crowd like an earthquake. They brought aggression, but also a sense of craft — tight musicianship backed up by unrelenting passion. It was a standout moment for festivalgoers craving heavier fare.
Scene Queen
Scene Queen opened Stage 2 and they certainly brought the part to party. Delivering a good fun set, Scene Queen certainly were a great band to start the party. Jolting the festival open with energy, fever and empowering lyrics, this set was a certainly a highlight for the festival.
GWAR
GWAR delivered exactly what you would expect from their set, chaotic, over the top performances that still make you wonder what you just witnessed, while delivering hard riffs and a bucket load of fake blood poured over the wanting crowd. Definitely a fun filled, blood dripping set that merges monstrous theatrics and serious musicianship
Fever 333
Watching Fever 333 you can immediately feel the intensity of the explosive punk/hardcore/hip hop they are known for. Sliding across the stage, lead singer Jason Butler, commanded the stage. With April Kae now on bass, it brought a new sassiness to the band which the crowd (and Kae) seemed to enjoy.
Overall Impressions
Good Things Melbourne nailed it today. The production, lineup, and crowd all clicked. With the withdrawal of All American Rejects and Knocked Loose at the 11th hour and then a medical emergency for Alpha Wolf could have been a big blow for the festival but the organisers reverted to Plan B and saw Stand Atlantic and Thornhill step in at the last minute. At its core, Good Things remains a festival that cares: about the music, the fans, and the moment. Today proved that music is not just that, music makes a community.
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