Melbourne weather really turned it on for Good Things Festival, my favourite Friday of the year. Under the beaming sun at the iconic Flemington Racecourse, this year’s instalment was something special. With headliners Tool, Weezer and Garbage locked in from the start, the lineup was one of the strongest since the festival launched in 2018, with acts that would be a win for any promoter.
Just days out, though, came the blow: the highly anticipated All American Rejects and Knocked Loose were forced to withdraw after suffering personal losses. Although it was heartbreaking news for more reasons than one, Good Things pivoted fast and announced Alpha Wolf and Stand Atlantic as replacements. It set the tone for what would become a day defined not by setbacks but by how effortlessly organisers rose above them.
Gates opened at 11am, and punters streamed in early. In previous years, the festival has taken a little time to warm up, but not this year- there were too many bands and not nearly enough hours. The layout was familiar, though noticeably improved, with more toilets and amenities than before. Red Frogs patrolled generously with sunscreen, water and crowd care, making the grounds feel safe even as the heat got more punishing.
Food trucks were abundant and varied, with more shaded seating than previous years, which was a true blessing as the temperature climbed. For a festival notorious for scorching weather, Good Things delivered one of its most comfortable setups yet.
At midday, Yours Truly opened the main stage, lighting the fuse for the day with a vibrant set. Over on stage 5, Maple’s Pet Dinosaur drew an impressive early crowd. At just 15, they’re not even old enough to attend the festival they were playing, but their performance was explosive and wildly promising. A band to watch, without question.
New Found Glory were a huge pull for pop-punk fans, and their set felt like a headliner despite the early slot. The crowd packed in to belt out the nostalgic hits, with Jordan Pundik commanding the stage with incredible energy and ease. A touching tribute to Chad Gilbert, who couldn’t attend this year due to his intense battle with cancer, brought a huge supportive roar from the audience. With Dan O’Connor (Four Years Strong) and Will Pugh (Cartel) jumping in, it felt like a supergroup moment, and was joyous, lively and heartfelt.
Tonight Alive made their Good Things return after seven long years, drawing a huge crowd to Stage 3. Kicking off with “The Edge”, they had fans in an instant chokehold. Jenna McDougall delivered a powerful yet intimate performance. Dayseeker followed on Stage 4, bringing a surging set that stuck the landing.
With All American Rejects out, Stand Atlantic stepped up on the main stage and absolutely tore it apart. Their cheeky nod to AAR with Gives You Hell was a bittersweet highlight. Alpha Wolf were due next but were forced to withdraw with only hours’ notice- cue Thornhill, who swooped in almost impossibly last-minute. Despite having zero time to rehearse or soundcheck, they delivered a confident set and witnessing them on the main stage was another huge win for Australian heavy music.
Meanwhile, over on stage 5, secret act Mudrat was causing chaos in the best way. His set was ferocious, drawing a crowd that spilled far beyond the limits of the stage. Fever 333 kept that momentum surging, turning stage 5 into the unofficial home for heavy fans.
After a quick jog back to stage 5, ska-punk icons Goldfinger delivered a fun, high-spirited and caffeine-fuelled set, despite a few technical hiccups.
All Time Low hit the main stage, keeping things bright with colour-coordinated outfits matching their latest album art. It was an upbeat, playful set, and when “Dear Maria, Count Me In” hit, the sing-along was unavoidable.
2010’s icons Cobra Starship made their long-awaited return to Australia, packing out stage 4. Playing hits like Snakes On A Plane and Good Girls Go Bad, they put on one heck of a show and were genuinely a joy to watch.
Then came Garbage. Their set was musically flawless, but an outburst from Shirley Manson directed at a fan tossing a beach ball created an undeniably awkward moment. While her frustration may have been understandable, the tirade went a touch too far and briefly deflated an otherwise stellar performance.
As daylight faded, the main stage swelled with anticipation for Weezer. The crowd chanted their name, hands forming ‘W’s in the sky. With Josh Freese filling in on drums, the band delivered a charming set full of hits, covers and deep cuts. They surprised the Melbourne crowd with “Jamie“- its first live appearance since 2014-and as the sun dipped behind the track, thousands of voices belted out “Say It Ain’t So“. It was pure magic. They closed with “Buddy Holly”, leaving the grounds buzzing and thousands dancing.
After nine hours under the sun, the cool change rolled in- and with it, Tool. The crowd stretched from one end of the festival to the other, a sea of fans ready for a transcendental closing set. Their long-standing no-phones rule was hard to enforce in a festival setting, but it made a real difference: for once, faces outnumbered screens. Opening with “Stinkfist” and closing with “Vicarious”, they delivered a colossal performance that justified every ounce of hype.
I’ve been to every Good Things Festival since 2018, and this was hands-down my favourite. Despite multiple challenges- major acts withdrawing, emergency replacements stepping in with only hours to spare-the festival ran remarkably smoothly. Whatever chaos unfolded behind the scenes, patrons barely felt a ripple. It was seamless from start to finish, and that’s a credit to the team who held it all together.
As someone who leans towards pop-punk and rock over the super-heavy stuff, I’ve felt the last few years drift slightly away from that balance. But this year it truly felt like Good Things rediscovered its DNA: diverse, alternative and inclusive. A brilliant mix of heavy and melodic acts, plus strong female representation, made the day feel richer and more rounded.
