Good Things Festival blasted back into Sydney in 2025 with a lineup so varied and ambitious it practically dared you to pace yourself. The festival’s big move to the Sydney Showgrounds turned out to be a masterstroke—wide open spaces, effortless crowd flow, better sound separation, and amenities that actually kept up with the crowd. It was a serious level-up, the kind that instantly makes you wonder how the festival ever fit anywhere else.
The day began under a merciless wave of heat, pushing everyone’s sunscreen to its absolute limit. Early sets became something of a badge of honour for both fans and bands, but the festival didn’t buckle. Hydration stations, shade pockets, and the occasional mist spray kept the masses alive long enough for the weather to finally turn in their favour. By late afternoon, a cool change drifted in, relieving the crowd and igniting a second wind that carried straight through the night. As temperatures dropped and stage lights rose, the Showgrounds transformed into a vibrant, electric nightscape—exactly the setting you want for a festival hitting its stride.
TrexAutopsy helped launch the day on Stage 5 with a surprising amount of force after
cementing stage time via a win at“Road to Good Things” With strong word-of-mouth from promoters and a reputation for tight, energetic performances, they offered the perfect blend of fun, chaos, and professionalism—making them an easy and memorable choice for the lineup. The band commanded their 30 minute set completely in control of their craft, delivering a sharp, energetic set that instantly woke the crowd up despite the heat.
Glitter, pink explosions, and unapologetic confidence dominated when Scene Queens Ohio born Hannah Collins kicked off GTF on the second of two main stages. Her bimbocore fusion of sugary visuals and hard-hitting riffs created a thrilling contrast that resonated particularly well with younger festivalgoers. Her charisma was infectious, her message empowering, and the result was a set that stood out for both style and substance.
A wave of nostalgia washed over the Showgrounds as a polished and joyful New Found
Glory delivered hit after hit. Even in the mid-afternoon warmth, fans bounced with genuine delight, shouting choruses like muscle memory. Their upbeat energy and friendliness cut straight through the heat, proving why their presence still feels essential in a festival setting.
Few acts can flip a crowd’s switch as instantly as Swedish hardcore punkband Refused. Their performance surged with political fire and sharp musical precision, their stage presence fierce and unwavering. When “New Noise” erupted, the audience response bordered on explosive—reminding everyone why this band remains one of punk’s most influential forces.
Hometown heroes Tonight Alive provided one of the festival’s most heartfelt 
moments. Jenna McDougall carried each song with a renewed sense of purpose, and the crowd reciprocated with enthusiasm and warmth. Their set felt like a reconnection—a shared, collective reminder of how far both the band and their fans have come.
Visiting from London with a set well worthy of a being on a mainstage Wargasm tore into their hybrid electro-punk metal chaos with intensity to spare. The duo of Sam Matlock and Milkie Way’s chemistry was electric, their energy relentless, and their ability to whip a crowd into movement unmistakable. Their sound—sharp, abrasive, and exhilarating—fit the festival environment perfectly. The Wargasm set under the sauna like Stage 5 enclosure will be etched as a highlight of GTF25.
GWAR, as always, turned their slot into an unhinged theatrical riot. Costumes, props, fake
blood, and unapologetically bizarre humour made for a spectacle that drew people like moths to flame. Beneath the mayhem, the musicianship remained tight and deliberate, proving once again that their longevity isn’t just about shock value.
Machine Head arrived with thunderous authority. Robb Flynn commanded total control as the band delivered a heavy, groove-laced onslaught sharpened by superb sound engineering. Every riff landed cleanly, every drum line hit with force—one of the day’s most sonically satisfying sets.
The afternoon’s tone shifted gracefully with James Reyne, whose smooth vocals and relaxed charisma provided a refreshing change of pace. As the heat finally began to ease, his set created a moment of calm that festivalgoers welcomed wholeheartedly.
Garbage offered a richly textured performance once the evening cool fully settled
in. Shirley Manson held the audience effortlessly, her voice steady and resonant as the band wove through dark-pop landscapes and industrial-influenced alt rock. Their set was moody, elegant, and superbly timed for the atmospheric dusk.
As soon as Weezer stepped out, the mood brightened again. Their effortless stream of hits had the crowd singing along from the first chord to the last. Rivers Cuomo’s understated presence contrasted endearingly with the crowd’s enthusiasm, resulting in a breezy, joyful performance.
Once night fully descended, Tool delivered a total sensory immersion. Hypnotic visuals,
towering rhythms, and Maynard James Keenan’s enigmatic presence created an enveloping atmosphere. Their set unfolded like an art installation—patient, precise, and visually stunning—standing apart as one of the festival’s most transportive performances. Tools performance was outstanding with major decisions being made when Stage and Set times overlap however Lorna Shore on the alt Stage 3 was also not to be missed.
Aiding to close what was an outstanding Good Things Festival with sheer firepower, Lorna Shore unleashed a finale of orchestral deathcore that tore through the night air. Will Ramos’s otherworldly vocal range left the crowd stunned, and the band’s intricate arrangements built an intensity that pushed even exhausted festivalgoers into motion. Their performance was nothing short of massive, a fitting end to a day defined by diversity and ambition.
Here’s a gallery of bands…
Conclusion
Good Things Festival Sydney 2025 delivered one of its strongest outings yet. The Sydney Showgrounds proved to be the perfect new home, the weather—eventually—played along, and the lineup struck a rare balance between nostalgia, innovation, spectacle, and raw power. From theatrical chaos to heartfelt hometown reunions, from blistering heat to cool night air, the festival offered a full-spectrum experience that left attendees buzzing long after the final breakdown.
If this is the new standard, Good Things has entered its golden era.
Thankyou to Destroy All Lines and Dallas Does PR for having us along.