photos: Louie Mosscrop @louiemosscropphotography
Words: Ashlee Harris

As masses of festivalgoers streamed into Flemington Racecourse, there was excitement in the air from the outset. The venue was efficiently organised, featuring five stages, each delivering robust sound without interference from simultaneous performances.

The atmosphere was lively, with circle pits, crowd surfers, and many attendees simply relaxing on the grass, soaking in the attraction that is live music. It was clear some underestimated the overcast day, leading to visible sunburn speckled among the crowd throughout the event, but truly was a perfect day for Melbourne to enjoy Good Things Festival 2023.

The opening slot at a festival can be difficult, yet PVRIS managed to captivate the audience, setting a dynamic tone for the day with their energetic performance and substantial crowd engagement. Despite lead singer Lynn Gunn mentioning she had experienced a voice strain the night prior, her vocals, both high and crisp, delivered an enchanting and impactful introduction to the festival.

Rou Reynolds from Enter Shikari brought an explosive and dynamic presence to the stage, utilising every inch with sporadic movements of energetic mayhem. His electrifying performance was loaded with statements like, "Melbourne, I can feel you, you’re itching to go!"

Sydney locals Stand Atlantic delivered a performance charged with immense energy, powerful sounds, and the added spectacle of CO2 jet machines. Fans enthusiastically jumping in unison and shouting 'Hell yeah' as recent hit "Sex on the Beach" resonated through the venue. The entire set projected a vibrant party atmosphere, making everyone in the audience feel part of the celebration.

The shadowy ambiance beneath the dome enveloping stages 3 and 4 perfectly complemented the atmospheric entrance of Slaughter to Prevail. The metallic masks of the band were dramatically highlighted by the stage lights and dark surrounds, enhancing the impact of their guttural vocals that had the crowd roaring. The frenzy of the pit had multiple individuals collectively describing it as “intense” in the most positive way, which truly speaks to the exceptional quality of the experience.

Relatively new to their international success, self-proclaimed Harajuku-core band, Hanabie, displayed a striking contradiction between their super sweet, colourful style and the intense, lengthy deep screams delivered by lead singer Yukina, complemented by the band's hardcore sounds. Their performance was filled with epic energy, extensive crowd participation and it was clear why they drew one of the largest audiences witnessed at stage 5 throughout the day. It is hoped the enthusiastic reception at the festival will encourage a return to Australian shores soon.

Sepultura delivered deep gritty vocals, reassuring the crowd that “you don’t have to know the lyrics, I just want to see you fuckers move!”. And move they did!

Corey Taylor treated the audience to a diverse setlist, seamlessly performing tracks from Slipknot and Stone Sour, as well as showcasing his solo work.

Bullet for my Valentine may have limited their movement around the stage when compared with other bands throughout the day, but they were still met with undivided attention from devoted fans.

And of course, Devo played “Whip It”.

Attempting to break the record for most crowd surfers over the barrier, While She Sleeps’ devoted fans leapt at the challenge. The band members maximised every inch of the stage, delivering one of the most captivating sets of the day. As their performance continued, the crowd swelled in size, with passers-by becoming mesmerised and unable to resist getting involved.

A near 20-minute delay to Royal and the Serpent’s set didn’t dismay fans, who patiently waited for the technical issues to be resolved before being treated to crowd-pleasers “Overwhelmed”, “i can’t get high” and “Happier in Hell”. Ryan Santiago's enchanting and emotive vocal delivery was complemented by perfectly timed lighting and a band that displayed seamless synergy. The hard-hitting beats were so impactful that the shortened set time became noticeable, leaving everyone craving more.

Anticipation built for Behemoth, as lead singer Nergal entered the stage alone, with a hand held light illuminating his painted face as he chanted at the crowd. The stage plunged into darkness, and as the crowd's cheers grew louder, the blackened death metal band commenced a set that served as a testament to their unwavering fan base.

Arriving at Stage 2 for Limp Bizkit, it was challenging to believe that a majority of festival attendees hadn't already gathered. However, as soon as the band's energetic and aggressive sound resonated through the speakers, kicking off with “Break Stuff”, fans came rushing from all directions. Fred Durst's distinctive rap-rock vocals and confident persona took center stage. Notably, there was a crowd surfer in a wheelchair, and pit member “Nick from Melbourne” was invited on stage to sing “Full Nelson”. The band also treated the audience to their hit “Nookie” which had everyone jumping. Just when the energy of the crowd couldn't get any higher, Limp Bizkit announced they would play "Rollin' (Air Raid Vehicle)", further amplifying the excitement. The crowd spanned both stages 1 and 2, attesting to the band's widespread appeal.

As the sky darkened, a burst of light emanated from an empty stage, immersing the audience in the eerie words of "The Pink Seashell". The music then surged, accompanied by vibrant lighting, heralding the grand entrance of headline act Fall Out Boy. The performance featured a fiery rendition of "The Phoenix", with flames illuminating the stage as Pete Wentz raised the head of his bass, producing additional bursts of fire directly from it. Serving a mix of early 2000s hits and contemporary favourites like “Sugar, We’re Goin Down”, “A Little Less Sixteen Candles, a Little More ‘Touch Me’”, and “This Ain’t a Scene, It’s an Arms Race”, the band catered to fans both old and new.

Midway through the set, the band transitioned to a slower pace, allowing both themselves and the energised crowd a moment of reprieve before building up to an epic finale. Lead vocalist Patrick Stump showcased his versatility by playing a piano medley, including covers of songs like "Beds are Burning" by Midnight Oil, "Don’t Stop Believin’" by Journey, and "Crazy Train" by Ozzy Osbourne. Despite Patrick mentioning his recent illness, his voice remained crisp and clear throughout the set.

Ramping up the energy again, the band engaged the crowd with “Dance, Dance” and “My Songs Know What You Did in the Dark (Light Em Up)”, accompanied by the return of fire machines. The energetic performance fuelled the excitement.

Recognising time constraints, the band seamlessly transitioned into their encore without a break, ensuring they covered fan favourites such as “Thnks fr th Mmrs”, “Centuries”, and “Saturday”. The set concluded in a spectacle of confetti and streamer cannons, showering the hailing crowd. The band expressed gratitude as they left the stage, leaving the sea of fans cheering into the darkness.