Live Review: Good Things Festival

Some punters were openly puzzled about Ecca Vandal not being afforded a more prominent slot, and playing the side stages just after midday surely detracted from the turnout. She didn't let it hamper her though, projecting an energy and presence far larger than that environment. Boasting a genre-hopping punk rock sound and inclusive message, the likes of Broke Days, Party Nights kicked off the crowd's day strongly.

For a first-up festival it was pleasing to see that most bands appeared to run on time and, as the crowd numbers gradually thickened, immediately following on the side stages were Brisbane punk outfit WAAX. Also exuding an infectious energy boosted by a collision of abrasive guitars and screams with plenty of melody, they previewed new material that's reportedly due next year.

WAAX

“It's good for Northlane to be back in Western Sydney,” frontman Marcus Bridge enthused over on the main stages. The feeling was evidently mutual. Decked out in black, sporting face masks and utilising more flames than a season of Chicago Fire, the globe-trotting prog-metalcore crew were dedicated to the cause despite the sweltering conditions. Much mosh carnage took place in the dusty field throughout standouts like Citizen, before inevitable closer Quantum Flux wrapped up a potent set in style.

Northlane

Back over on the side stages were symphonic-laden metallers Make Them Suffer. As the airing of hooky recent single 27 reinforced, the Perth outfit's recent creative direction has taken a more dynamic tack than the less interesting deathcore material of their early years, even if the latter will still stir up live crowds. Some of the banter felt overly generic and there were a few technical gremlins seeping through, but enthusiasm for the task meant they likely left with new converts.

The Fox God had finally deemed Australia worthy of a visit from Japan's Babymetal. Even performing minus former member Yuimetal (although with a replacement in tow), there was a tangible sense of anticipation from both the already initiated and curious onlookers for their J-Pop/heavy metal hybrid. The result was one of the day's biggest crowds. It could be easy for some metalheads to be cynical about their choreographed moves, plentiful backing tracks and overall aesthetic, but it was also far preferable to become caught up in the sheer unadulterated fun. Their well-honed backing outfit, Kami Band, aided the cause. Gimme Chocolate!! and KARATE were ideal festival fodder and greeted with enormous singalongs, and although their display lasted just 35 minutes it ranked among the picks of the day.

As the heat began to subside somewhat, US post-hardcore/emo veterans The Used pleased an adoring crowd. It was a pseudo-hometown show, a celebration even for vocalist Bert McCracken, who resides in the city these days. He marked the occasion by bringing his daughter on stage and proclaiming his sobriety for the past several years. Some of the extended banter was laid on too thick – when you've got just 45 minutes at your disposal, best use it wisely – but the masses revelled in the numerous arms-around-your-mates cuts.

The Used

Bullet For My Valentine are old hands at this main stage festival caper by now. The Welsh act play accessible, major label melodic metal and their live show was suitably slick to match, even if frontman Matthew Tuck admitted his voice was affected somewhat by recent travel. New cut Over It had the crowd bouncing early on, but it was firm fan favourites like Your Betrayal and Scream Aim Fire that the diehards had really shelled out their hard-earned for. This scribe will question the wisdom of a drum solo during a festival set, but it was a temporary blip during another successful showing. There seemed a time when the quartet would already be headlining festivals of this ilk, and while it hasn't occurred yet, there's still time.

Bullet For My Valentine

Back on the side stages, Tonight Alive's brand of pop/punk/rock seemed akin to the ideal summer soundtrack. Wasting Away and Disappear were crowd-pleasers, as perennially likeable vocalist Jenna McDougall encouraged fans to crowd-surf safely and responsibly while high-fiving security on the way. However, the set abruptly ended several minutes early - reportedly due to a medical emergency that tragically led to the death of a security guard.

Massachusetts heroes Dropkick Murphys brought their hearty anthems to the main stages. Exceptional as a party-starting band, especially for any fan who's idea of a balanced meal is a beer in each hand, they performed their brand of Celtic punk with a level of enthusiasm impossible to measure in any tangible manner. The audience reciprocated in kind; the convivial atmosphere perhaps best summated by the 30-something-year-old man in a “Thank God For Punk Rock” shirt dancing like nobody was watching during The State Of Massachusetts and Rose Tattoo. Fittingly closing with I'm Shipping Up To Boston, it was a reminder that this mob don't play bad shows, even after several years' absence from our shores.

Dropkick Murphys

Led by vocalist Frankie Palmeri, Emmure seemed to have considerable appeal for a generation of heavy music devotees reared on deathcore and metalcore, but who were eventually introduced to nu-metal groove. The Americans' breakdown-focused delivery was heavier than a bag of spanners and circle-pit violence certainly ensued. That said, the bludgeoning rapidly felt one-dimensional and even lowest common denominator at times, their shortcomings exacerbated by technical issues.

Corey Taylor was in a celebratory mood; the Stone Sour frontman turned 45 on this day, and cheesily but engagingly noted that the enthusiastic gathering was “a gift”. This was the quintet's second visit Down Under as part of the touring cycle for latest full-length Hydrograd, although with an hour-long set the hard rockers were afforded less time than their recent headlining run. The production values – plenty of sparklers, Taylor wielding a confetti gun and inflatable tube-men that accompanied closer Fabuless – added to the spectacle as the sun went down. The singer's solo rendition of Bother reminded everyone there that his potent voice can capture thousands' attention even in an outdoor venue. The hits (Through Glass, Song #3, Absolute Zero) were all touched on. Perhaps the entire display was a little too polished to truly reach grandiose heights, but there are far worse prospects than giving your fan-base precisely what they want, so on that front the Americans succeeded.

Stone Sour

It could be argued that we've collectively well and truly passed saturation point regarding records being performed in their entirety live. In many instances, it's an exhausted marketing exercise designed to coax even the most jaded fan to put their hand into their pocket to purchase a ticket. That said, in this instance, The Offspring performing all of 1994's mega-selling punk classic Smash had an air of excitement greater than most. Perhaps this was partially because, as tireless guitarist Noodles noted, this show format was potentially the only setting in which some of its songs would be played. The album itself, a mix of several enormous singles and worthwhile deep cuts, evidently still possessed plenty of cache with the Californians' audience.

The Offspring

Ultimately, this was a night of nostalgia where the actual performance matched the expectation. Bonafide, scream-a-long bangers like Bad Habit and Come Out And Play, or Self Esteem eliciting perhaps the loudest reaction of the entire festival are proof that trends come and go, but great songs endure. An encore of other hits, including Gone Away (featuring frontman Dexter Holland on piano), All I Want and Pretty Fly (For A White Guy) resulted in all and sundry going home with grins you'd have required a sand-blaster to remove.

Although unfortunately marred by a tragedy, the Australian summer festival circuit could certainly use a rock festival a la Good Things. Hopefully it continues and flourishes beyond its first year.