GOOD THINGS FESTIVAL // Brisvegas Party City

With dark clouds on the way out and thousands of patrons on the way in, Good Things Festival starts its third and final day in the Sunshine State city of Brisbane.

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Amid sporadic rain, lost wooden legs and an enticing ‘Watermelon Boy Love Story’ that filled the Facebook Event Pages story, the bands of the day brought it all to the table, seemingly unaffected by the fatigue of a three-day-straight festival.

Stateside

Stage 2: 12:00 – 12:30
Kicking off Good Things 2018’s last day, Brisbane locals Stateside began an energetic show at what was their first festival appearance. Frontwoman Erin Reus held a captive audience as festival goers continued to stream through the gates, ready for a full day of pits and like-minded crowds. Playing through a decent mix of songs, Stateside went on to cover Heathens by twenty øne piløts, injecting the song with the ferociousness of rock. If the band were nervous, they showed no sign of it. Commanding the stage as the first act of the day. Taking a break half way through their set, Stateside spoke of mental health before breaking into Neon, their second last song of the day. Echoing their words on mental health, the lyrics “I’m no longer broken” were chilling before being followed up with screams of “No chains, no hooks no need to try and fix me” which fit nicely with the message the band were conveying. Warming up music fans for the day, Stateside closed their half hour set with The Way We Were, exiting the stage as fans began to move across for the day’s next act. Anyone who arrived early enough to catch Stateside were treated with a local band that put on a great show and set up anticipation for the day ahead. // Rhys Pemberton

Ecca Vandal

Stage 4: 12:15 – 12:45
When Ecca Vandal took to Stage 4 and kicked off our day, the tempo was immediately set. Bouncing around the stage, the crowd fed off Ecca’s untameable energy and gave everything they could back to her. Drawing in passerby’s as they wandered around the RNA Showgrounds, by the time Ecca’s set was coming to an end, the tent had become a packed out sauna. And just when you thought there couldn’t be any more surprises, Ecca jumps into the middle of the crowd during the final song, gets everyone to crouch down with her before exploding upwards in a unanimous battle cry. If you didn’t start your day off with Ecca, you missed out big. // Louise Inkster

Ecca Vandal // By Alex Nisiriou

Void Of Vision

Stage 1: 12:30 – 1:00
Void of Vision burst onto the stage under the blare of sirens, the ground vibrating as vocalist Jack Bergin immediately got the crowd jumping. Within seconds, the start of a circle pit began, fans and those passing by headbanging to the screamed lyrics and pounding drums. “Horns in the fucking air” Bergin exclaims as the band entered their opening breakdown, and the crowd willingly obliged. Creating enough noise for all of Brisbane to hear, Void of Vision’s crowd grew as their second song drew to a close, festival goers drawn by the breakdowns and promise of a pit. Bergin jumped around the stage as though possessed, at one point slamming the ground as he fell to his knees, throwing his rage behind his vocals. Getting a circle pit moving for rage inducing track Spite, the mosh moved, throwing arms and fists into the air. Time and time again the crowd got involved, Void of Vision the extreme opposite to Stateside, ramping up the intensity from the alt-rock beginnings of the festival and bringing the metalcore early. Entering the heaviest song of their set, the song could undoubtedly be felt back to the stands. “One more time, batshit crazy” the band finished, as the beating drums and thrashing guitars ended and security sprayed the moshed-out fans with hoses as one crowd moved on to their next act and another moved across to the second stage. // Rhys Pemberton

Void Of Vision // By Vincent Shaw

WAAX

Stage 3: 12:45 – 1:15
Brisbane fans swarmed to the front of the stage when local punk heroes WAAX emerged. Immediately Maz picks up her mic stand, swings it out over the crowd and gets some serious loving from the fans in the front row—singing the opening song back to her. With powerhouse vocals, tight instrumental and just as much excitement radiating off the band as the patrons, WAAX did not come here to f*ck spiders, they came to play hard and boy did they deliver. // Louise Inkster

WAAX // By Alex Nisiriou

Waterparks

Stage 2: 1:00 – 1:45
Waterparks entered the stage to screams, introducing themselves with a simple mention of the band name before opening with fan favourite Blonde. Showing that rock doesn’t always have to tackle the big issues, Waterparks offered a fun alternative, vocalist Awsten Knight rocking purple hair and giving the crowd something to sing along to with Rare. While the instrumentals overpowering the vocals at times, the front of the crowd didn’t seem to mind, hands waving back and forwards throughout the bands set. Handed flowers from a dedicated fan, Knight then led the band into new song Not Warriors from the latest album Entertainment. A brief interaction with the merch line to shamelessly plug their own shirts, Waterparks then got the crowd throwing arms into the air once more, clapping along to Dizzy from the band’s debut album. After a quick ‘science with Waterparks’ section covering sunburn despite the clouds, the band broke into another rock fused song that got fans jumping. As the band drew to the end of their set, interjected with more crowd focused banter, the energy seemed to fizzle out slightly as the next band grew closer. Finishing their set with second album song TANTRUM, Waterparks showed a heavier side that set the waiting crowd up for the next act. // Rhys Pemberton

Waterparks // By Vincent Shaw

Waterparks // By Vincent Shaw

Boston Manor

Stage 4: 1:15 – 2:00
Your first time can be a little scary, but the lads from Boston Manor made our first time with them a day to remember! Bursting onto the stage with energy that you wouldn’t think was possible in black jeans and long sleeve tees, the first circle pit for Stages 3 & 4 was quick to form. With a challenge presented by vocalist Henry Cox that Brisbane was the rowdiest show so far, the crowd quickly lived up to the claim. There was crowd surfing, there was moshing, there was sweat coming from every direction and even the random siren going off in the distance for the first 4 songs couldn’t tear away the audience from the stage. The final verdict, we’d definitely fux with Boston Manor again. // Louise Inkster

Boston Manor // Alex Nisiriou

Boston Manor // By Alex Nisiriou

Northlane

Stage 1: 1:45 – 2:30
Anticipation for Sydney’s own Northlane was growing well before the band hit the stage. Drawing the biggest crowd of the day so far, most of the oval was covered with fans, leading back into the stands. As vocalist Marcus Bridge screamed “Go”, fire shot into the sky, accurately showing the genre switch from Waterparks before them as the crowd threw up horns and got the circle pit moving. Opening with Scarab, the band started strong and heavy, screaming to the growing crowd. From there, the band moved onto single Vultures, fans welcoming the rage-fuelled song with a quickly growing mosh as fire once more shot up in front of the stage. Keeping the high energy up, Northlane moved their set along as fans squeezed themselves through the crowd to join the pit near the front. As the camera panned the crowd, throwing them up on the stage screens, horns went into the air, before another circle pit broke out along to Bridge’s beautifully guttural screams. With a set that mingled old and new, Northlane’s crowd continued to grow with warmed up fans ready to jump throughout the 45-minute set. Opening the pit to engulf the whole front halfway through their set, Northlane went on to play a brand-new song, growling into the mic to bouncing and headbanging fans. Northlane’s new vocalist since 2014 has been well and truly welcomed judging by the crowd the band drew and with a fury that drives Northlane’s passion for the genre, it’s not hard to see why. Not a song of Northlane’s set passed without a pit that only grew, a testament to Australia’s input in the metal scene. Their last show of the year, Northlane finished their set with 2013’s album lead single Quantum Flux, shooting purple confetti into the crowd as Bridge’s last screams faded and the band left the stage. Good Things welcomed Northlane and fans replied in kind, the crowd feeding off of the band’s contagious energy they maintained throughout their set. // Rhys Pemberton

Northlane // By Vincent Shaw

The Wonder Years

Stage 3: 2:00 – 2:45
Filling out the smaller stage, The Wonder Years looked right at home as all six members moved around the stage in perfect orchestration. Giving us something for everyone, The Wonder Years took us from heavy hitters, to slower ballads and even provided the opportunity for a “hydration song”. That’s right, singer Dan Campbell gave our tired selves a second to catch our breath and take a seat during the middle of their set while he serenaded us … but then it was back to 100 with a circle pit and head banging following right after. A diverse set that was enjoyed by huge crowds, this was definitely a good day to be a TWY fan. // Louise Inkster

The Wonder Years // By Alex Nisiriou

La Dispute

Stage 2: 2:30 – 3:15
Picking up as Northlane fans continued to move away, La Dispute undoubtedly hooked a few fans with their fast-paced beginning. Opening with New Storms For Older Lovers, the post-hardcore outfit moved straight into their next song, giving no chance for curious festival goers to move away. Catchy guitar riffs and beating drums joined screaming fans, though the vocals suffered from a similar problem to Waterparks, being overpowered by the instrumentals. Probably a stage issue, the band continued to draw a crowd despite this, breaking into their third song with a rhythmic beat that slowly built momentum and served as a cool down following the band’s fast-paced opening. Moving from one song to the next, vocalist Jordan Dreyer bobbed around the stage, inviting fans to join him in moving to the melodic beats. Taken up by some, but noticeably less than some of the band’s that came before, La Dispute nevertheless put on a show that seemed to please fans but would most likely have lost the interest of a curious passer-by. Towards the end of their set, the band took a break to address the crowd and remind them to look after each other. Overall, while putting on a strong show that seemed to entertain fans, La Dispute seemed more like an interval band than a must-see act, but finished strongly enough and made their mark on the line up for Good Things. // Rhys Pemberton

La Dispute // By Vincent Shaw

Make Them Suffer

Stage 4: 2:45 – 3:30
It may have felt like the bowels of Hades inside the tents at Stage 3 & 4, but Make Them Suffer brought a-whole-nother level of heat when they came on stage. Getting right into the gritty, not 5 seconds had passed before the pits were pulsating to the primal screams and sultry vocals that blasted far beyond the tented walls. You might have suffered some heat stroke, but if you were in the Make Them Suffer pit then it was definitely worth it. // Louise Inkster

Make Them Suffer // By Alex Nisiriou

Babymetal

Stage 1: 3:15 – 4:00
The sun comes out from behind the clouds, the band have already taken the stage with intimidating face painting and the gigantic crowd that seems to have come from nowhere is on edge. In single file, looking like Japanese royalty, out come (in my opinion) the stars of the day! The crowd roars as BABYMETAL begins an incredible and intricate 45 minute, fully choreographed set that left everyone gasping for air—even if you didn’t know the words to the songs. Almost like we were under a spell, when Su-Metal spoke we did exactly as we were told. I mean, how could you not?! The most exquisite composition of J-Pop and Heavy Metal combined, if you were anywhere near the stage when BABYMETAL was playing, you were definitely dancing along. // Louise Inkster

Palaye Royale

Stage 3: 3:30 – 4:15
Over on stage three, Canadian rockers Palaye Royale kicked things off in all their glam-rock style. Opening with Don’t Feel Quite Right, the band’s first time in Australia will surely be remembered as vocalist Remington Leith climbed the stage speakers before the first song even finished. Dressed in pink with no shirt, it’s an image that ultimately defines the bands on-stage presence. Keeping the momentum going, the band wasted no time pushing on with their set. With thrilling guitar riffs and accompanying beating drums, Brisbane’s first live taste of Palaye Royale didn’t disappoint. Moving down to greet fans, Leith and guitarist Sebastian Danzig command the stage with a surety that shows they know how to entertain. Fast paced songs that one can dance to as much as jump, it’s hard not to move as the band plays. All around, fans and curious festival goers who poked their heads into stage three’s tent to have a look, were bouncing to music reminiscent of a fun style of rock. Song Teenagers by My Chemical Romance was greeted with an echoed chorus of screams, and it’s not hard to see why. With its catchy lyrics, the song suits Palaye Royale’s style perfectly, the group refusing to blend into a crowd when they can clearly make a scene standing in front of one. The song got the crowd moving while Royale’s cover paid tribute to a well-known song. Back to their material, the band continued with new song Fucking With My Head, a catchy chorus echoing around the tent as the bands instrumentals vibrated in every fans chest. Despite the third and fourth stages drawing smaller crowds, at least during the day, Palaye Royale showed that smaller doesn’t mean less energetic. The crowd responded enthusiastically to raising their hands and clapping along, and with catchy beats it would be hard not to get involved. Getting fans to kneel down, the crowd jumped like a wave throwing arms into the air and jumping along with Leith’s own intensely energised performance. With a 45-minute set that seemed to melt away, Palaye Royale finished with How Do You Do?, a suitably rock-centric song to end the band’s first run of appearances in Australia. Climbing up and around the lighting frame and jumping back down to stage, Leith unleashed some raw energy during the bands set and given the reaction of the crowd, it certainly won’t be the last time they grace Australia’s shores. Palaye Royale were a surprising hit at Good Things and a highlight of the day. // Rhys Pemberton

Palaye Royale // By Vincent Shaw

The Used

Stage 2: 4:00 – 4:45
If there’s one set that was the most memorable, it’s got to be The Used. With the sun beating down—big thanks to the merciful secy’s hosing us down overtime in the pit—The Used were welcomed by hundreds of fans cheering their every move. The crowd embraced Bert McCracken’s reminder of the “childlike wonder” that is apart of every Used show and used it to fuel the energy that embodied the largest-so-far pit of the day. Not only did the band deliver on a wide range of songs from their impeccable discography, McCracken treated us to several Shakespeare recitals (which he knew by heart), political messages regarding Trump (“Fuck You Donald Trump”—McCracken) and solidarity for Palestine, and even a cover of a much beloved Australian anthem—the Play School theme song. And just when you thought they were done, The Used rounds out their final song with the chorus from Smells Like Teen Spirit. // Louise Inkster

The Used // By Alex Nisiriou

Scarlxrd

Stage 4: 4:15 – 5:00
Hailing from the UK, Scarlxrd (pronounced Scarlord) mixes a couple of genres one wouldn’t think fit well together. Blending trap music with heavy metal, the screams accompany a thumping bass that vibrates through your chest. “Are you ready to move?” frontman Listhrop asks, before demanding the pit open, and breaking into rapped screams and jumping. Scarlxrd is an artist you wouldn’t think blends well with the other festival line up acts, but surprisingly they do. Bringing the screams and a solidly loud noise (just how we like it), the artist released some pent-up rage throughout the set which was hard, impossible even, to ignore. That doesn’t necessarily mean it was good though. As Scarlxrd throws himself around stage headbanging all the way and pulling at his chest (perhaps he should have left his shirt on), it’s hard not to find something amusing in the rapper’s style. Whether Scarlxrd is aware of his own laughable antics it’s hard to say, as he was entirely grossed in pumping out a trap music bass while screaming his lungs out. Clearly not to everyone’s taste, and certainly the odd one out on the line-up, fans of Scarlxrd at least found satisfaction in the artists pained-like screams. By the end of the set it wasn’t clear whether words were being spoken or if ‘guttural screams’ had become part of the set. Entertaining? Sure. But an artist to rush and see? Unlikely. It’ll depend on taste, but giving how a band like Palaye Royale, who preceded Scarlxrd, can get a crowd moving and involved without resorting to pounding electronic beats and raging screams, Scarlxrd wouldn’t attract the casual festival goer. Bands have done raging screams and done it well, but Scarlxrd caters to a niche market and, beyond a reasonable number of dedicated fans, it didn’t seem an awful lot of them were Brisbane based. Finishing with popular song Heart Attack, it was difficult to distinguish the closing track from any other that came before. For losing yourself in a mosh Scarlxrd works a charm, but for anything beyond that, it’s void of substance which ultimately sums up the entire 45 minute set. // Rhys Pemberton

Scarlxrd // By Vincent Shaw

Bullet For My Valentine

Stage 1: 4:45 – 5:45
It’s the third time since I’ve been in the pit that a “BULLET!” chant has begun from the crowds around me. But this time, Bullet For My Valentine answers our calls and takes the stage. Their final show for 2018 and they were not holding anything back; old favourites were mixed in with new bangers, but whatever song they played from their impressive 15 year career, there was a crowd to sing it right back to them. If you’re jam is tight AF riffs and beats that move so fast your head will spin, then the Bullet set was the one for you. But the moment that stood out above all, was when those first notes of Tears Don’t Fall rang out over the open-air arena. Everyone moved in, singing every damn word back to the band that guided them through those awkward years and it was a beautiful sight to see. // Louise Inkster

Bullet For My Valentine // By Alex Nisiriou

Tonight Alive

Stage 3: 5:00 – 5:45
Sydney’s Tonight Alive were greeted by a decent crowd as they broke into The Other from their latest release Underworld. Vocalist Jenna McDougall was on point for their third show in as many days and backed by some rocking guitars and beating drums, the size of the band’s crowd only grew. Tonight Alive kept the momentum up with Lonely Girl, a strong rock song that excited the crowd and kept them moving and singing along. From there, the set grew louder and louder, reverberating through the tent among screams from loyal fans. The promise of an energetic show continued with the band members jumping along and getting the crowd involved. A mix of old and new showed off the band’s releases and it would be hard to say Tonight Alive don’t give it their all during their live performances. With enough tracks to keep the crowd singing, when Tonight Alive broke out What Are You So Scared Of? fans reacted as expected, clapping and jumping along to a song which ultimately helped Tonight Alive build themselves into the band they’ve become today. It was good to see the rock outfit hadn’t abandoned their first album completely and the applause following their debut album and early EP songs showed that fans longed and long for that Tonight Alive sound. Providing a well-oiled show which the crowd can get behind, Disappear saw McDougall dancing across the stage and easily enjoying herself, making it hard not to also enjoy the band as they played through track after track. Finishing strong with fan favourite The Edge followed by Temple, Tonight Alive’s love of performing clearly bled over to the crowd as most of those gathered in the tent began to jump and dance, led the whole way by McDougall. They may have been critically compared to Paramore in the past, but Tonight Alive showed that they’re their own band and gave as much love to fans as they received. // Rhys Pemberton

Tonight Alive // By Vincent Shaw

Dropkick Murphys

Stage 2: 5:45 – 6:45
As the sun sets over Brisbane’s RNA Showgrounds and the temperature finally drops (albeit only slightly), bagpipes begin a ringin’ and the misfits of Dropkick Murphys run out on stage to an equally excited crowd. The only band at Good Things to include a bagpipe, DM’s Celtic rock brought the craic and could be heard far beyond the stage, drawing in patrons from every corner of the Showgrounds. Turning our Aussie mob Irish—and without any Guinness—for a full 60 minutes is no easy feat, but Dropkick Murphys just keep showing us that they can achieve anything. // Louise Inkster

Dropkick Murphys // By Alex Nisiriou

Mayday Parade

Stage 4: 5:45 – 6:45
A band that was clearly a highlight for some, Mayday Parade came on loud and were inclined to stay that way. Opening with Never Sure from new album Sunnyland, the crowd for stage four carried to the back of the tent. Bringing out fan favourites before long, arms went into the air and the expectation of fans boiled over. Each song was met by cheers and screams, a wave of hands, whether horns or fists, encouraged Mayday Parade to keep on giving, and as the tent for both stages three and four filled, fans were clearly happy with what they were getting. Lead vocalist Derek Sanders hardly stayed still during the set, showing no sign of fatigue despite being two festivals down. Echoing lyrics back at the band, the crowd were just as lively, set to spend the hour set on their feet and in the air. Given an hour to play with, the mayhem of a live Mayday Parade performance was in full force early on, and continued through to the end. Even the band’s slower song, A Piece Of Your Heart, managed to feel lively given the bands on stage presence and involvement of the crowd singing lyrics among claps and swaying arms. “It doesn’t matter what you do, just have some fun” vocalist Sanders shouts before the band kick off old song Jamie All Over and the sentiment definitely resonated with the crowd as more and more people began to jump before the tent was filled with the sound of echoing claps. Almost halfway through their set, Mayday Parade broke out their Punk Goes Pop cover of Someone That I Used To Know. An energised cover, if there was anyone watching the band not singing by this point, they’d be in the minority. Whether they were recording or simply bouncing along, the air was filled with raised hands through which the band could be seen crossing the stage with all the enthusiasm they had when the set began. With twenty minutes left of their set, Mayday Parade slowed the mood, bringing out a piano and getting the crowd started on track and fan favourite Miserable At Best, a song which left the tent echoing with every voice present. It made a change from the rock-centric approach the band had equipped up until that point, but seeing a crowd shift from high-energy jumps to lifting lighters and phone lights towards stage made for a chilling song that only a band that pulls a crowd like Mayday Parade could pull off. Sticking with the piano, Mayday Parade followed up with Stay, which brought back the guitars and slowly built up to the pounding drums of previous songs on their set. Finishing up with Oh Well Oh Well, Mayday Parade rocked Brisbane once more, bringing out their unstoppable energy alongside the promise of returning as soon as possible. Good news for any fans who didn’t get enough from their hour-long set. // Rhys Pemberton

Mayday Parade // By Vincent Shaw

All Time Low

Stage 1: 6:45 – 7:45
The Pop-Punk Princes themselves have finally arrived and with them, fans upon fans trying to squeeze through the walkways and onto the grassy haven where they’ll have prime viewing of All Time Low. Kicking us off with some earlier classics, it seemed like even those who weren’t there to see All Time Low were singing along to every word. Alex Gaskarth and the gang greet us like old friends, slinging the term ‘Brisvegas’ and complimenting our beauty in the dim lighting. But when the opening notes of Dear Maria, Count Me In began, you were reminded just how much love we Aussie Hustlers have for the Baltimore band that helped raise our angsty little souls. // Louise Inkster

All Time Low // By Alex Nisiriou

Emmure

Stage 3: 6:45 – 7:30
Emmure entered the stage under blue lights and beating drums with a ferocity that gave away early on the band weren’t another Mayday Parade. Metalcore by nature, any festival goer who may have been feeling the wear of the day by this time would surely be reinvigorated by Emmure’s brutal set. “Move your fucking feet” frontman Frankie Palmeri screams, refusing to let the crowd rest. Undoubtedly the heaviest bands of the day, Emmure welcomed the setting sun and as the tent grew dark, red lights illuminated fans and the stage like some metal version of hell. It wouldn’t be a metalcore band without a circle pit, and Emmure fans delivered, spreading out before the stage to meet the bands demands. What Scarlxrd lacked in thrashing guitars and crushing drums, Emmure more than made up for, driving the circle pit into a frenzy song after song. Guttural growls served to push fans further, a sea of heads rising and falling with each beat and fans screaming for their favourites. Torch from 2017’s Look At Yourself kept the fury building as the crowd spilled across the front of both stages, raising horns defiantly as Emmure reached the halfway point of their set. The last metalcore act of the day, fans of the genre made sure it counted, bringing any remaining energy to the pit and unleashing it in a fantastically brutal, metal fashion. It’s metalcore as intense as it deserves to be and it’s a sentiment that’s clearly shared, the moshing crowd continuing until the end. Entering into their last couple of songs, Emmure kept the mosh going and, silhouetted against a backdrop of smoke and red and blue lights, the band joined the crowd in bringing their 45-minute set to a close. // Rhys Pemberton

Emmure // By Vincent Shaw

The Smith Street Band

Stage 4: 7:30 – 8:30
Closing stage four, Aussie rockers The Smith Street Band were loudly welcomed by screams and whistles of anticipating fans. Opening with track Suffer, the crowd responded with the same excitable energy lead singer Will Wagner entered with. Unapologetically brash, the band barely bothered with introductions beside announcing themselves as the Dropkick Murphys. Australia’s unique take on rock attracted a large crowd that can’t help but join in the fun, singing back at the band and clapping along. Moving from song to song, The Smith Street Band didn’t bother with banter for the first quarter of their show, but then the songs they belt out with some raw emotion say everything they could possibly want to say by themselves. Anyone unfortunate to miss the Melbourne rockers surely missed one of the most inviting bands at good things, every member of the audience happily sharing the moment with those around them. Catchy guitar riffs joined raw vocals that best describe Australian rock and what it can achieve. More than anything, the band offers a fun live show that doesn’t disappoint. It’s no surprise The Smith Street Band were asked to close the stage, as they brought a mass of festival goers together under a tent to jump and dance to a couple of rock songs backed by unending energy and passion. The crowd seemed to be having as much of a good time with each other as they were with seeing the band, something that lends itself brilliantly to just how Australian The Smith Street Band are. There’re no expectations placed on either the band or the crowd and it makes for a bizarre but fantastic live show. They may not have the presence of rock outfits like The Offspring, but The Smith Street Band don’t pretend to. They share ideas and let the crowd do what they will with those ideas. Drunk or sober, and there was a solid mix of both at least at the front half of the crowd, The Smith Street Band was enjoyed by all, and that’s exactly what the band set out to provide. A used-out cliché but true nonetheless, thunderous applause really did seem to accompany each song. Whether it was the enclosed space or just the excitement of the crowd, each track on the bands set was a cacophony of noise from both the artists on stage and the fans screaming up at them. Throw Me In The River began the last few songs from The Smith Street Band’s set and its lyrics were echoed around the tent by every fan there. With two songs left, vocalist Wagner addressed the crowd on upcoming music as well as not so subtly hinting at a March return next year, pumping the crowd up one last time for their final two songs, once more joined by the energetic audience. Finishing strong, The Smith Street Band pulled out all the stocks and bombarded the crowd with favourite Death To The Lads, the chorus resoundingly echoed back at Wagner as the smith street closed their set and stage four, finishing ceremoniously with “get out of my fucking face, mate”. // Rhys Pemberton

Stone Sour

Stage 2: 7:45 – 8:45
Night is fully upon us now and the crowd is itching with excitement about who’s up next. Stone Sour waste no time meeting us and getting straight into a set that left you breathless, pissed off and every other emotion in between. Corey Taylor commands the stage as always, the absence of a mask making the entire performance somehow more intimate—even with the hundreds of people standing around you. The set was nothing short of spectacular. Confetti guns, those funny tube men you see at car sales yards and the sound of an entire stadium singing Through Glass in unison were just the tip of the iceberg. Stone Sour, without a doubt, take home the title of Set Of The Day at Brisbane’s Good Things Festival. // Louise Inkster

Stone Sour // By Alex Nisiriou

Dashboard Confessional

Stage 3: 8:30 – 9:30
Wrapping up stage 3 and opening with mellow and melancholic track The Best Deceptions, Dashboard Confessional eased the crowd into a slower end to the night. Already starting to make good on the promise to play tracks from 2001’s The Places You’ve Come To Fear Most, vocalist Chris Carrabba held a captive audience in near silence, an eerily beautiful change from moments before when The Smith Street Band held the stage. As the first song finished, the rest of Dashboard Confessional joined Carrabba on stage and kicked off some more rock-focused tracks, beginning with Vindicated, a melodic track opening with a lengthy instrumental before Carrabba stepped up to the mic and gave the crowd what they came to see. With more room to move around the tent, fans pushed in towards stage, trying to be as close to the band as possible. A mix of colours played across the band as they strummed, drummed and sang through a set covering Dashboard Confessional’s lengthy history. Anyone who had had to choose between The Offspring and Dashboard Confessional would have had a hard choice and given Dashboard’s beautifully rock-fused melancholic performance, the decision was never going to be easy. Promising to play The Places You’ve Come To Fear Most in it’s entirety, though on shuffle, Dashboard Confessional continued to rock the remaining crowd at stage three. Thanking the fans to cheers, Carrabba spent some time introducing the rest of the band halfway through the set before playing the slow and wonderfully depressing Screaming Infidelities, a relatable track fans had no issues recalling as lights lit them up and they joined the band in singing along. Carrabba reclaimed the stage for himself then, evoking the familiar melancholy fans have come to understand with slow songs that captivated and held the crowd silent. The Offspring faded in the distance as Carrabba strummed his guitar and gave fans a soothing end to a day of raging rock and metal bands. Welcoming the full band back on stage for their final songs, Dashboard Confessional began with 2006’s Stolen, the dark, moody lighting lifting slightly as the set drew to a close. Finishing up their set with the more hopeful track Hands Down, Dashboard Confessional wrapped up Good Things stage 3 and with it the day of anyone not sticking around for The Offspring’s final songs. In all, Good Things Brisbane provided a day of great bands, fun times and good things, living up to its name in the best way possible. // Rhys Pemberton

Dashboard Confessional // By Vincent Shaw

The Offspring

Stage 1: 8:45 – 10:00
It’s here. The moment we’ve all been waiting for. With the stands packed and patches of free grass barely visible in front of the stages, everyone is on the edge of their seat (or feet) waiting for The Offspring to take their places on stage and round out a fantastic day of music. The moment that happened, the entire atmosphere changed and eager excitement was replaced with thousands returning to their teenage selves while we celebrated the 1994 mega-hit album Smash. The inclusion of other fan favourites like Why Don’t You Get A Job had The Offspring mob going wild and, although they may not have the same energy they used to, the performance they put on was met by adoring fans singing along to every word until the very last breath. For fans that grew up to the sound of The Offspring’s punk rock ballads, it was worth every minute. // Louise Inkster

The Offspring // By Alex Nisiriou

This past weekend, Australian fans of rock music have been treated to an early Christmas. After years without a dedicated rock music festival, Good Things have cemented themselves in the Australian music scene with an outstanding variety of bands who know how to give their fans exactly what they want. The communal appreciation and excited anticipation of next year’s event has already filled our ears and the future is finally looking promising. // Louise Inkster