Good Things Festival @ Flemington Racecourse, Melbourne 6/12/2024

It’s that time of year again. That end of season huge Olympic moment you’ve worked all year for. The blood sweat and tears of the insanity of your day job to be brilliantly cast aside at the grand final, the Super Bowl, the works Christmas party of the year. It’s Good Things Festival 24.

I get in early and already the place, much bigger than I remember from my last visit here for Good Things, is filling. For a shadow chaser, fearful of the sun, the first thing I do is scan for cover. A huge tent in the middle, where the carnival fun stage 666 is set, is the focal point. Plenty of trees and water stations , some sheltered, to utilise. Plenty of docking stations for sunscreen too. So, if you need a breather, you’re covered. Where the shade isn’t though is at the stages, all of them exposed to the elements that on a thirty four degree day makes you reevaluate your band watching decisions.

On that, five stages, big stages too, stretch out across the festival. Yes it can be a walk between them however what a perfect way to grab a bite to eat from what seems an endless smorgasbord of choice. I chose BBQ 34 and at reasonable festival price was great value. Or get that T-shirt of your fave band at the multiple merch desks. Of course, thirty four degrees is also perfect beer drinking weather and there are plenty of options, with little queuing time.

Further left field, get yourself a tattoo, do some clothing shopping, get a haircut, charge your phone. Good Things has left no stone unturned to make you feel right at home. Food, drink and fucking great music.

So what of the music? We will get to Korn and Electric Callboy later, today we start with Aviva who plays her first Australian show in five years. A. decent sized crowd appear and are treated to Aviva’s soulful sultry yet sneering vocals of empowerment, strength and individuality. Those who may not know her are won over by the intensity, the power of music and performance which Aviva herself states, ‘if you don’t know me, you will!’.

Then we get into the nuts and bolts as all the stages are triggered into action so a quick check on Loathe, their subtle Deftones mixed with British attitude make them popular with the pit, which is also going off by the time I go to see Body Prison. I don’t know the song that breakdown was on when I got there but seeing half a dozen or so people being piggy backed around a circle pit to crushing riffs was very pleasant.

Talking of pleasant, the stage 666 freestyle area has a disco and seeing people already bouncing to SOAD and MCR this early the day is amusing. There is karaoke. Air guitar and all sorts of macabre carnival actions. Bed of nails anyone? Pole dancing to Rob Zombie? Well ok then…

Meanwhile back in the world of music, The Butterfly Effect, with their own tour to promote in a few months, come out in their usual serene style, going for substance rather than fury. Clint Boge, naturally goes for a camouflage jacket while the temps sore and open with, ironically, Worlds On Fire. Every song is on fire from a band that knows how to ignite with the fan chosen set.

Alphawolf have an upward trajectory unmatched in Australia right now and the crowd, as far as you can see, on the ‘smaller’ stage does them an injustice. They are in the zone and the band know it as they lead the crowd through Sucks To Suck and all manner of breakdowns, anger filled lyrics and circle pits heavily off the stunning new album.

The strong Australian themed line up continues with Northlane following on from The Living End. Northlane themselves are a band I question being in daylight but there is an impressive backdrop and a strong arsenal of songs mean they still deliver with artistic precision. It’s at this stage I notice the Auslan interpreters who to be frank, are worth the fee alone.

Killing Heidi do make it on stage albeit late as the rains come. Hampered by sound difficulties, the circumstances conspiring against them didn’t stop Ella Hooper and the band trying their hardest to put a smile on everyone’s faces which while challenging does seem to be successful.

Sleeping With Sirens are remarkably still full of energy after last nights show, less than twenty four hours before, as the rain stops and the beach balls bounce. The crowd go wild for them like felines and catnip, however the band is forced to stop during their set due to an medical emergency. The organisers manage their way around this brilliantly and should be commended.

The break gives me a chance to catch Reliqa over on stage 5 who are destroying it with their manic prog rock, Monique Pym’s vocals powerful, the grooves hitting hard, the band clearly enjoying themselves and I cannot wait for what’s next from them.

Ok, the main players. Electric Callboy get promoted up after the unfortunate Sum 41 news, and are then dealt – for the second consecutive Australian tour – a blow themselves with drummer falling ill on the eve of the show. Well if you have a problem with a square cube but have a square hole… So Sum 41’s drummer steps up and fills in.

Opening with Tekkno Train, the one hour set has old school, has German numbers and has all your faves in a blur of streamers, beach balls, wigs and great times.

Nico and Kevin are actually great frontman who have the audience eating out of their hand, they visibly seem to enjoy themselves and with tracks like Pump It, Hypa Hypa and We Got The Moves, they really can’t go wrong. Well done for stepping up to the plate and knocking a home run.

Which leaves Korn, on their own thirtieth anniversary tour. I feel to try and write about them would be disingenuous. They are a finely crafted machine who give their all every night, while forcing you join in, with a catalogue that doesn’t let up. In fact, they arguably leave so much quality out due to this overload.

Vocalist Jonathan Davis gets his steps up and his voice is as powerful as ever, and well, as a Scotsman, the bagpipes in Shoots And Ladders will always get me fired up.

The set list is predominantly the first couple of albums with the odd later one thrown in. Clown, A.D.I.D.A.S., Blind and of course, Freak On A Leash. There are no fancy flames or fireworks, there is no need with songs like this, and the audience, which goes as far back as I can see, get the life alright.

All in all, Good Things was brilliant. The music is the music, you can always check it out and other writers will wax lyrical about that, however as a festival, there is a reason its reputation is top notch worldwide.

Good Things is more than a festival, it’s a way of life.

Live Review By Iain McCallum