Good ThingsFestival was born out of the ashes of Soundwave and now in its 6th year it has perfected the outdoor, alternative music festival. Seasoned festival going punters whose ages match those of the headliners joined younger fans, mainly clad in black, many sporting newly purchased band and Good Things T-shirts from the Merch stands. Queues for food, drink, merch and toilets were minimal, the weather was perfect; in the mid-twenties, which contributed to the overall enjoyment of the day. Six stages were easily accessible, in part due to the smaller footprint of Flemington Racecourse and there weren’t too many set time clashes. Despite the last-minute exit of All American Rejects and Knocked Loose due to personal reasons, the day unfolded without a hitch, except for one controversial outburst which will follow later.
Swedish hardcore punk rockers Refused are on at the early hour of 2pm, a relaxed viewing environment before the hordes arrive for the headliners. Vocalist Dennis Lyxzen is sporting a sheer purple frilled shirt, and has the rock moves down pat. At one point he throws the mike stand in the air and catches it. Seminal track “The Shape of Punk to Come” opens their explosive set, and sets the pace for the entirety of their performance.“I’m quite a happy person and we play quite violent music,” confesses Lyxzen. His thought-provoking statement and the implied juxtaposition, drawing laughter from the crowd. Flanked by Mangus Flagge on bass and Mattias Barjed on guitar, with David Sandstrom on drums they are formidable, and it is a set filled with hits including; “Rather be Dead” “The Deadly Rhythm” and 1994’s “Everlasting”. Lyxzen implores us to build a better world, and support Palestine. Their last ever Melbourne show ends on a high with a cataclysmic rendition of crowd favourite “New Noise”.
Photo by Mary Boukouvalas
At Stage 3, the predominantly young punters are chanting “GWAR, GWAR, GWAR” until the band of Heavy Metal Barbaric warriors, GWAR take to the stage. Opening with “The Great Circus Train Disaster,” the band of musicians led by Mike Bishop don’t need costumes and gimmicks to entertain the throng. GWAR’s music and accomplished playing holds up, but the fans are having a great old time being sprayed with fake blood, and the effigy of Donald Trump being slaughtered to the tune of “El Presidente,” is very satisfying.
James Reyne a legend of the Australian music scene took us on a sentimental journey playing Australian Crawl songs and solo material that many of the older contingent in the crowd spent their formative years listening to. Aussie Crawl gem “The Boys Light Up,” with Reyne on harmonica, supported by a crew of seasoned performers, opens a set of old chestnuts, that incites sing-alongs amongst the oldies. “Daughters of the Northern Coast” follows and the set features a superb rendition of “Down Hearted.” Ballad “Reckless,” pulls at the heartstrings and it feels like 1983 all over again.
Garbage last visited our shores in 2016, and as one of three main headliners tonight, the crowd are primed. Lead vocalist Shirley Manson is clad in a black jumpsuit with the colours of the Palestinian flag splashed across it, sporting a keffiyeh and a silk sash in the colours of the Palestinian flag, with Butch Vig on drums, Steve Marker on guitar and newest member Nicole Florentino on bass. Manson cuts an imposing figure and commands the stage with every step. “There’s no future in Optimism,” showcases her strong vocals and initiates a hit laden set. “I think I’m Paranoid,” “Vow,”, a great rendition of Depeche Mode’s, “Personal Jesus,” “Stupid Girl” (a veritable highlight), “When I Grow Up” and closer “Only Happy When it Rains” closes off a mesmerising set. Manson speaks of her admiration and love of Michael Gudinski, and of freeing Palestine but her vengeful comments towards a male fan sadly overshadow a killer performance.
Beach balls have no place in rock shows, but neither do threats of violence and emasculation (from Manson towards a male fan) who was holding the wrong beach ball at the wrong time. Manson’s outbursts go a step too far and prove she is a flawed human being like the rest of us.
Californian indie rockers Weezer, are the next headliners to grace the stage. Lead vocalist Rivers Cuomo is clad in a T-shirt and flannel shirt, holding a well weathered guitar covered in stickers. Flanked by Brian Bell on guitar and Scott Shrines on bass, with drummer Josh Freese replacing Patrick Wilson, Weezer kick off proceedings with “My Name is Jonas,” and the punters are hooked. If ever there was a band silently professing a message of peace and love, whilst rocking out it would be Weezer. Guitar laden hits with tongue in cheek humour, the band are known for, incite mass sing alongs in the throng. “The Good Life,” “Hashpipe”, a glorious “Undone-The Sweater Song” with shout outs to Cherry Bar, “Pork and Beans,” “El Scorcho” and “Islands in the Sun” are performed with aplomb. But “Say it Ain’t so” invites the loudest sing along. A stunning rendition of Hole’s “Celebrity Skin” is a crowd pleaser and Cobra Starship’s Victoria Asher joins them on stage to sing “I Just Threw out the Love of my Life”. Finishing their strong set with “Buddy Holly”, Weezer has single handedly lifted everyone’s spirits.
Photo by Mary Boukouvalas
Headliners Tool are a different rock beast. Whilst an English comedy skit about horses Prick, Big Tits, Buttocks and Vagina pipping the post precede their set and lightens the mood, their progressive rock sound, musicianship and light show is astounding and one that commands our full attention. “Stinkfist” initiates a set that the Tool diehards will appreciate. Maynard James Keenan is moving from side to side near the back of the stage, clad in black eye make up, a red and black Mohawk and leather jacket.
His vocals are powerful and complement Adam Jones’ exquisite guitar riffs, Justin Chancellor’s intricate bass lines and Danny Carey’s symphonic drumming. The sound is breathtaking. LED screens project the accompanying disturbing stop animation music video to Stinkfist (directed by Adam Jones), whilst green lasers stream through the crowd.
LED screens project visual imagery associated with album artwork and are devoid of footage of the band members. Danny Carey is clad in an anatomical Lycra suit, similar to imagery on 2001’s album Lateralus. The show is a feast for the senses, mesmerising all who are watching.”H.” hasn’t been performed in 23 years and “Crawl Away” for longer. Closer “Invincible” clocking in at just over 12 minutes showcases Tool’s mastery. Tool is triumphant, closing yet another successful Good Things festival that will remain forever etched in our memories.
Anna-Maria has been writing for Street Press in Melbourne and Sydney for over 20 years. She is passionate about food, music and the arts, is an avid reader and used to hand write reviews for Beat Magazine at the Great Britain Hotel, where a patron once suggested she was ripping off articles in Rolling Stone magazine.
