Good Things Festival in Sydney – review and photos

In its fifth year, the Good Things Festival in Sydney proved that, despite the turbulent fate of many Australian music festivals, the heavy music community remains a steadfast force to be reckoned with. This year’s edition, however, was marred by unpredictable weather—torrential rain and oppressive humidity made the day a sweaty, soggy affair. With over 20,000 punters braving the elements, the festival embodied resilience—both in its loyal crowd and its diverse lineup of bands. Following last year’s early cancellation due to a lightning storm, there was a lingering fear that history might repeat itself. However, despite the festival’s advice to delay arrival by two hours to avoid a predicted storm, eager festival-goers couldn’t resist getting there early, ready to dive into the chaos and embrace the full experience, rain or shine.

Opening the day and making their first live appearance in Australia as part of the Good Things tour was English metalcore outfit LOATHE. Despite their early billing and the relentless rain, they drew a respectable crowd, with frontman Kadeem France wasting no time in inciting a circle pit among the early punters.

Over on Stage 4, another band was making their Aussie debut: rap-metal outfit FROM ASHES TO NEW. While their crowd was small, the five-piece’s Linkin Park meets Bad Omens sound was well received by the devoted fans who had gathered.

Next up, Australian rock royalty THE BUTTERFLY EFFECT took things to another level on Stage 3. Their setlist, packed with fan favourites, quickly captured the crowd’s full attention. By the time they hit their third track, A Slow Descent, a massive crowd had gathered, spilling across both stages and all the way to the food stalls. Vocalist Clint Boge delivered an absolutely flawless performance, effortlessly navigating each song with vocal control and power that easily places him alongside Australia’s finest rock vocalists. His emotive delivery, complemented by bassist Glenn Esmond’s perfectly harmonised backing vocals, showcased the seamless chemistry that underscores why THE BUTTERFLY EFFECT has remained such a powerful force in the Australian rock scene since 1999.

Flipping back to Stage 5, Australian metalcore mosh bois ALPHA WOLF delivered a tight, ferocious set, with guitarists Sabian Lynch and Scottie Simpson standing out. Their razor-sharp guitar tones cut through the thick humidity, setting the perfect backdrop for the hardcore crowd, who responded with arms swinging and bodies over the barricade.

One of the standout elements of Good Things is its eclectic mix of acts, and nowhere was this more evident than when transitioning from the ferocity of ALPHA WOLF to the timeless rock of THE LIVING END. By this point, the festival site was heaving, with the band powering through an iconic setlist that had the sizeable crowd singing along to classics like White Noise and Prisoner of Society.

After a woeful $18 margarita, I made my way over to Stage 5, where American singer-songwriter TAYLOR ACCORN was having the time of her life. She playfully asked the crowd if anyone knew who she was, clearly delighted by the enthusiastic screams that erupted in response. Bringing her signature high-energy pop-punk to the stage, she delivered a set that resonated deeply with the crowd.

As NORTHLANE took to Stage 2, the sun finally made its long-awaited appearance. With an impressive LED backdrop lighting up the stage, the band quickly reaffirmed why they are one of Australia’s most formidable metal outfits. Frontman Marcus effortlessly commanded the crowd, while guitarists Jon and Josh delivered some of the sharpest and most powerful guitar tones of the day. During Dante, Nic Petterson’s infectious disco beats sent the crowd into a frenzy, adding a unique twist to their high-energy performance. Though their set leaned heavily into their more recent material, guitarist Josh Smith gave a nod to the band’s Western Sydney roots before the band launched into a medley of World Eater, Dispossession, and Jinn, which had been masterfully modernised to resonate with both old and new fans alike.

It’s been six long years since American metal titans MASTODON last graced Australian shores, and their return was nothing short of triumphant. Having recently wrapped up US tours celebrating the 20th anniversary of their iconic Leviathan album, it came as no surprise that their set was heavily focused on this landmark record. Guitarists Brent Hinds and Bill Kelliher performed with surgical precision, delivering searing riffs and intricate solos that kept the crowd in awe, while Hinds’ vocals, though occasionally strained, couldn’t detract from his phenomenal guitar work. Drummer Brann Dailor, relentless as ever behind the kit, elevated the energy further with his blistering performance, making his vocal contributions all the more impressive. The crowd was treated to the first pyrotechnics of the day, with flame blasts perfectly synchronised to the crushing riff of Blood and Thunder. It wasn’t just the classics that dominated the set—MASTODON also unleashed Steambreather from Emperor of Sand and More Than I Could Chew from their latest double album, Hushed and Grim, showcasing their evolution while still maintaining the heavy, melodic intensity that has defined their career.

Back over on Stage 3, the legendary all-female band L7 delivered a set of ’90s punk-grunge to an enthusiastic crowd. As the intensity dialled back, THE GASLIGHT ANTHEM hit the stage, but their passion remained unwavering. With their anthemic alternative rock, they provided the perfect soundtrack for a brief recharge, giving festivalgoers a chance to grab a bite from the nearby food vendors while still soaking in the band’s set.

Moving across the festival grounds, JET were in fine form on the main stage, offering all the dad-rock karaoke nostalgia you could want.

NSW Central Coast locals RELIQA have rapidly made a name for themselves over the past 12 months, now standing shoulder to shoulder with some of the biggest metal bands on the planet following their signing to the iconic Nuclear Blast label for the release of their highly anticipated 2024 full-length, Secrets of the Future. Frontwoman Monique Pym stormed the stage with purpose, holding the audience in the palm of her hand throughout their blistering set, even rallying the crowd for a wall-of-death. Guitarist Brandon Hutcheson was on fire, melting faces with his laser-precise shredding, proving himself as one of the most exciting young talents emerging in the Australian metal scene. Keep your eyes on Reliqa—2025 is poised to be their breakthrough year.

Despite a time clash with the wildly popular ELECTRIC CALLBOY on the Main Stage, a simple “Hi, we’re Highly Suspect” from frontman Johnny Stevens was enough to draw a solid crowd. The Cape Cod rock outfit took the clash in stride, joking about having “the world’s smallest circle pit” as they delivered a flawless set that spanned their entire discography. However, the band did struggle with the overwhelming volume from ELECTRIC CALLBOY to their right and DJ sets to their left, which somewhat hindered their sound.

With SUM 41’s last-minute dropout, German electronicore outfit ELECTRIC CALLBOY stepped up into the second headline spot—and they did not disappoint. The six-piece unleashed a high-energy blend of tongue-in-cheek techno-metal, transforming the main stage into a wild fusion of rave and mosh. The crowd responded in kind, crowd-surfing, dancing, and pumping their fists to anthems like Hypa Hypa, Pump It, and set closer We Got The Moves.

As most of the action shifted to the Main Stage, the crowd at the dual-stage for BILLY CORGAN was noticeably sparse. The legendary frontman delivered a lacklustre set, blending Smashing Pumpkins classics with solo material and a few covers sprinkled in. By the time he closed with The Long Goodbye, the song’s title seemed almost prophetic—what had started as a modest crowd had dwindled to half its size by the end of the set.

A sea of eager festivalgoers had gathered in the central staging area, awaiting the arrival of nu-metal kings KORN. The unmistakable, down-tuned opening riff of “Here to Stay”, played by James “Munky” Shaffer, sliced through the air across Centennial Parklands before a quick “Here we go” from vocalist Jonathan Davis kicked the performance into full gear.

Those in the heart of the mosh pit barely had time to catch their breath before Brian “Head” Welch unleashed the eerie intro to “Dead Bodies Everywhere.” Both guitarists delivered a masterclass in guitar wizardry, seamlessly shifting between wah pedals, whammy bars, and a myriad of other effects. In an era where many bands rely on backing tracks for atmosphere, it was refreshing to see KORN’s guitarists showcasing their full arsenal of sounds and textures.

From there, the setlist only gained momentum, with the crowd singing in unison to anthems like “Got the Life” and “ADIDAS.” They also got a treat of deeper cuts, including “Hey Daddy” and “Good God.” Touring bassist Ra Diaz stepped up admirably to fill the shoes of Reginald “Fieldy” Arvizu, who has been on hiatus from the band since 2021, while drummer Ray Lazier demonstrated his impressive chops, often elevating original parts from KORN’s OG drummer, David Silveria.

Eight songs into the set, the unmistakable ting of the ride bell rang out, signalling the start of “Blind.” As the iconic intro built, vocalist Jonathan Davis took a moment to express his gratitude for the crowd, reflecting on the band’s 30-year journey. A wash of phone screens lit up as the song’s intro reached its peak, with Davis shouting, “Are you ready?!”—and then all hell broke loose. At 53, Davis showed no signs of slowing down, his performance as fierce and commanding as ever, proving he’s still at the top of his game.

The band dove into “Ball Tongue” and “Clown” before Jonathan Davis emerged with his signature bagpipes, signalling it was time for “Shoots and Ladders.” The pace quickly intensified with the feverish “Twist.” From there, “Make Me Bad” and “Y’all Want a Single” rounded out the main set, leading into a raucous encore that brought two of KORN’s biggest hits: “Falling Away from Me” from Issues (1999), and “Freak on a Leash” from their groundbreaking Follow the Leader (1998).

As the heavy music scene experiences a resurgence of nu-metal influence, it’s only fitting that KORN were chosen as this year’s Good Things headliners. For older fans who grew up on their pioneering sound, the festival was a chance to reminisce and relive the raw energy of KORN’s early days. At the same time, it offered younger heavy music fans the opportunity to witness firsthand one of the most influential bands of a generation—one that continues to shape the music they now listen to. It’s impossible to overstate KORN’s impact: without them, many of the bands sharing the same stage at the festival might never have come to be. At a time when 7-string guitars were reserved for shred nerds, it was KORN who brought them into the metal underground, crafting a distinctive sound that bled into the mainstream and still shapes the metal landscape today. Their influence can be heard in countless bands that now carry the torch, proving that KORN’s legacy is as strong and relevant as ever.

Good Things Festival has once again proven that there is hope for live, guitar-driven music, as well as for the future of music festivals in Australia. The energy and passion on display throughout the weekend were a testament to the resilience of the scene, with large crowds flocking to see some of the most iconic and influential bands of our time. This year, there was a noticeable improvement in sound quality, addressing a long-standing complaint that past iterations of the festival suffered from performances that were often too quiet.

However, it’s crucial for music fans to continue supporting not only these larger festivals but also the smaller, local shows. Every headliner starts somewhere, and it’s in those intimate, grassroots events where the next big thing is often born. By backing local bands and venues, punters play an essential role in nurturing the future of live music, ensuring that the cycle of new talent keeps thriving. As long as fans continue to show up, the live music scene will continue to evolve and thrive, keeping the spirit of rock and heavy music alive for generations to come.

Review by James Dean. Photos by Adam Davis-Powell.