Live Review: Good Things Festival Melbourne 2024 Featuring KORN
6 December 2024 at Flemington Racecourse, Australia
Review by Jeana Thomas
Photography by Jeana Thomas Photography
Promoter Destroy All Lines have carved another year of a stellar linup, luring a near capacity crowd across Melbourne, Sydney and Brisbane. In the post covid era of collapsing festivals like wind gusts over a deck of cards, the concert promoter have stood on a solid foundation and lured one of the biggest names in world metal – KORN. With over 40 million albums, the US band is the gravitational headline of the music experience, backed by an army of 26 bands including Violent Femmes, Mastodon and The Living End before a near sold out festival of rock and metal shenanigans. While SUM41 was a late withdrawal due to illness, the 2024 chapter had delivered their promised of a well organised and spectacular show.
Headliner KORN, the pioneers of nu-metal, have been a defining presence in the music scene since the mid-1990s. Known for their raw, emotional performances and heavy, genre-blending sound, they have consistently drawn large, passionate crowds at festivals and concerts worldwide. At the 2024 Good Things Festival, KORN once again proved their enduring appeal and unmatched intensity, offering a performance that was as mesmerising as it was freeing.
KORN’s performance was marked by their signature sonic assault – aggressive guitar riffs, pounding drums, and Jonathan Davis’s iconic, emotionally charged vocals. The band’s ability to blend the old with the new was a key aspect of their performance.
Musically, KORN’s sound has evolved over the years, but their ability to deliver a relentless mix of groove metal, industrial, and alternative elements remains intact. Their rhythm section, including Reginald “Fieldy” Arvizu’s unmistakable bass lines and Ray Luzier’s drum work, stood out as the backbone of their performance. The band’s trademark use of dissonant, churning guitar riffs created a thick atmosphere of tension throughout the set, with James “Munky” Shaffer and Brian “Head” Welch leading the charge with their intricate yet punishingly heavy guitar work. The interplay between these two guitarists is something that KORN fans can always rely on to deliver the visceral, otherworldly tone that has become synonymous with the band’s sound.
At the heart of KORN’s live performance lies Jonathan Davis dressed in his red jumpsuit. His presence on stage is magnetic, as he channels a range of emotions – pain, rage, vulnerability and even moments of triumph, through his distinctive vocal delivery. His performance at the Good Things Festival showcased his ability to make even the most personal, anguished lyrics feel universal. Whether it was the searing, guttural screams or the hauntingly melodic moments Davis’s voice remained a vehicle for catharsis.
KORN’s stage presence was as commanding as ever. The band’s performance felt like a controlled chaos, a frenzied yet purposeful display of musical power. There were moments when Davis would move from a place of solemn introspection to a full-blown eruption of energy, inciting the crowd to do the same. This shifting dynamic, one of calm vulnerability to unrelenting fury, is a hallmark of Korn’s live shows, and it was especially evident at this festival.
The crowd at the Good Things Festival responded in kind, matching the band’s energy with fervour. KORN’s ability to create such a diverse range of emotional reactions is one of the factors that has solidified their status as festival headliners. They manage to engage a wide spectrum of fans, from those who are there for the pure intensity to those seeking a deeper, more introspective connection.
One fascinating aspect of KORN’s performance was the demographic mix of the audience. While the band’s original fanbase, those who grew up with their 1994 self-titled debut album and 1998’s “Follow the Leader”, was well-represented, it was evident that KORN has also managed to attract a younger generation. Teens and early twenty-somethings, many of whom were not even born when KORN first exploded into the scene, packed the crowd. This speaks to the lasting influence of KORN’s music and their ability to remain relevant. Their themes of alienation, mental health struggles, and personal turmoil resonate with new listeners who may not have lived through the nu-metal era, but find common ground in Korn’s powerful emotionality and raw honesty.
KORN’s set was a testament to their staying power and their ability to craft performances that feel both intensely personal and universally relatable. They played all their greatest hits, starting out with “Here to Stay” from 2002 release “Untouchables”, “Dead Bodies Everywhere” and came back at the end of the night for a three song encore, ending with “Freak on a Leash”. Their musicianship was top-notch, and their emotional engagement with the audience elevated the show beyond a typical festival appearance. KORN continues to prove that they are not just a product of their era, but an ever-evolving force in the world of heavy music.
The Violent Femmes, one of the most iconic indie rock bands of the ’80s, have always been known for their unique blend of folk-punk, offbeat humour, and emotionally charged lyrics. Their set was a captivating journey through their storied catalogue, weaving together nostalgia with a sense of timeless relevance.
The simplicity of their setup, with Gordon Gano on guitar and lead vocals, Brian Ritchie on bass, John Sparrow on drums and multi-instrumentalist Blaise Garza, allowed their sound to take centre stage. The rawness of their music, often described as “folk-punk” or “alternative rock,” remained untouched by the extravagance of modern production. Their minimalist approach, a rhythm section so tight it felt like a pulse and Gano’s signature, plaintive vocals – was electrifying.
What stood out in this live setting was how effectively the Violent Femmes maintained the energy of their early recordings, which, despite their lo-fi production, always had a sense of urgency and intimacy.
At the centre of the Violent Femmes’ performance was Gordon Gano (a master storyteller), whose vocals and stage presence remain as compelling as ever. His voice, which on record has been alternately boyish and ragged, was surprisingly robust, reaching each note with ease despite his age. His delivery was understated, but deeply expressive.
What has always made Gano’s performance so captivating and what shone through at the Good Things Festival, was his subtle yet poignant storytelling. Whether he was singing about heartbreak, alienation, or relationships, his songs always felt like a direct line into his psyche.
Gano’s ability to convey vulnerability through his lyrics is one of the key reasons why the Violent Femmes’ music resonates so deeply. During songs like “Please Do Not Go” and “American Music,” he brought out an emotional range that was felt by every person in the crowd. These moments of quiet, introspective reflection were often followed by a burst of chaotic energy, and it was this constant shifting between tension and release that gave their performance its emotional depth.
As much as the Violent Femmes are known for their quirky, sometimes irreverent approach to music, they have always had an unspoken bond with their listeners. It wasn’t just the sing-alongs, though there were plenty, but the shared sense of nostalgia and joy that filled the air. The crowd seemed to mirror the band’s energy, oscillating between moments of carefree celebration and introspective reverie.
One particularly memorable moment came during the acoustic-driven “Add It Up,” a song that has long been a fan favourite. As Gano’s guitar picked out the opening riff, the crowd immediately erupted in cheers, singing along with every word. The energy of the crowd was infectious, pushing the band to elevate their performance. As the song built to its fever pitch, it was clear that the connection between the Violent Femmes and their audience had not waned over time. It felt like a shared moment of release, where the personal meets the collective.
One of the most striking aspects of the Violent Femmes’ set at the Good Things Festival was their ability to sound both timeless and utterly relevant. Their music, which blends elements of folk, punk, and rock, transcends the trends of any particular era. While their songs may have been written decades ago, their themes of alienation, love, longing and self-doubt, resonate just as much today as they did when first penned. This ability to speak to the human condition in a way that feels both personal and universal has kept the Violent Femmes’ music alive in the hearts of fans old and new.
Though the Violent Femmes are undoubtedly a product of their time, they have transcended that era in a way that few bands can claim. The diversity of the audience, from those who grew up with their music to younger fans experiencing the band for the first time, speaks to the lasting appeal of the band’s sound.
Their performance at the 2024 Good Things Festival was a testament in how a band can remain vital and captivating even after decades in the industry.
Mastodon’s performance at the Good Things Festival showcased the band’s ongoing development and their exceptional command of both technical skill and emotional expression. Having been pioneers of the modern metal scene for over two decades, Mastodon’s reputation is built on their willingness to experiment with form, blending elements of sludge, progressive rock and classic heavy metal into a distinctive sound that has won them legions of devoted fans. The Good Things Festival, known for its eclectic mix of genres and artists, provided the perfect setting for Mastodon to showcase their versatility and reinforce their standing as one of the most innovative bands in heavy music today.
Their setlist was a thrilling journey through their iconic catalogue, featuring some of their most powerful and intense tracks. The night kicked off with ‘Crystal Skull’, a song known for its intricate riffing and haunting atmosphere, which immediately set the tone for the evening. From there, they seamlessly transitioned into ‘Black Tongue’, a track that blends sludgy heaviness with relentless aggression, sending the crowd into a frenzy. The raw energy continued with ‘Iron Task’, a song marked by its powerful drumming and shifting tempos, showcasing the band’s signature ability to blend technical proficiency with unstoppable heaviness. Of course, no Mastodon set would be complete without ‘Blood and Thunder’, a crowd favourite that has become synonymous with the band’s live performances. Its thunderous riffs and aggressive lyrics left a lasting impact as an exhilarating display of Mastodon’s unique blend of progressive metal, sludge, and hard rock.
Their live performance is always a spectacle of musicianship and the Good Things Festival show was no exception. Guitarists Brent Hinds and Bill Kelliher’s intricate dual-guitar interplay has long been a hallmark of Mastodon’s sound and this dynamic was on full display. Whether they were playing tight, palm-muted riffs or harmonising over cascading solos, their chemistry was palpable. The dual-guitar attack is not merely a flashy display of technical skill, but a carefully orchestrated performance that enhances the emotional depth of the music.
Brann Dailor’s drumming deserves special mention. Known for his complex time signatures and energetic style, Dailor’s performance was nothing short of mesmerising. His ability to transition from bombastic fills to subdued rhythms, all while keeping the band tightly locked in, was a testament to his technical prowess and musical sensibility. Tracks like ‘Mother Puncher’ and ‘Steambreather’ were a showcase of Dailor’s ability to keep the pulse of the music steady while providing an ever-changing backdrop for the guitars and vocals.
Troy Sanders, the band’s bassist, played a crucial role in grounding the band’s sound. His distinctive vocal delivery, which combines a deep, throaty growl with moments of soaring melody, served as a perfect counterbalance to Hinds’ and Kelliher’s wailing guitar tones. Songs like ‘Steambreather’ allowed Sanders to shine both as a bassist and a vocalist, delivering a driving, melodic bass line that anchored the more chaotic elements of the band’s sound.
A Mastodon show is not just about the music; it’s a full sensory experience. The Good Things Festival offered a space where the band could stretch their creative muscles in terms of stage design and visual presentation. Behind the band, massive projections pulsed with abstract imagery and animated sequences that complemented the cosmic and mythological themes found in their albums. For a band like Mastodon, who often deals with grand narratives that mix mythology, personal introspection and existential philosophy, these visuals added a layer of depth to the performance. Whether it was the fiery landscapes, or the more ethereal cosmic visuals, the backdrop was a fitting reflection of the band’s music: rich, expansive, and multi-layered.
Mastodon’s performance was a reminder of their place as one of metal’s most innovative acts. Their ability to balance heavy, intricate riffs with emotional depth, paired with their live performance chops, demonstrated that they are not simply a band riding on past glories. As they continue to evolve and experiment, Mastodon’s legacy remains unchallenged and performances like the one at the Good Things Festival, prove that they are a force to be reckoned with in the world of heavy music.
As for the rest…
The Good Things Festival in Melbourne showcased an incredible line-up of diverse talent. It was a mix of powerful performances, unforgettable songs and pure energy. The eclectic line-up ensured there was something for everyone, leaving fans eager for the next edition.
The Living End showcased their enduring energy, musicality and commitment to their punk rock roots. Despite their decades-long career, the Australian trio remains fresh and dynamic, blending punk, rockabilly, and alt-rock influences. Lead vocalist and guitarist Chris Cheney’s charismatic stage presence and skilful guitar work were key highlights, while bassist Scott Owen’s unique slap-bass style added a vintage vibe. Drummer Andy Strachan’s precise, powerful rhythms anchored the band’s energetic performance. The set included moments of subtlety, like ‘End of the World”, offering a reflective contrast to the high-energy tracks. The Living End proved they remain relevant by staying true to their roots while evolving creatively, delivering a performance that balanced aggression with melody and solidified their place as a vital force in punk rock.
Kerry King brought intense, raw energy, his iconic shredding and fierce stage presence captivating fans who were there to witness metal history. Gaslight Anthem delivered a heartfelt performance, blending rock and punk with emotional depth, making it impossible not to sing along. Belle Haven’s emotive set resonated deeply, their powerful mix of post-hardcore and melody captivating the crowd. Sleeping with Sirens brought a perfect mix of angst and melodic beauty, their vocals soaring through every song. Aviva’s bold, electro-rock style filled the venue with an electrifying atmosphere, while Highly Respected showed off a dynamic sound that effortlessly combined elements of pop-punk and alternative rock. Reliqa rounded out the festival with their unique blend of progressive and alternative metal, offering a sonic experience that was both intricate and heavy.
Electric Callboy and Billy Corgan each delivered standout performances. Electric Callboy opened with the high-energy “Tekkno Train,” seamlessly mixing metalcore and electronic beats, keeping the crowd hyped with tracks like “Hypa Hypa.” They wrapped up with the upbeat anthem “We Got The Moves,” leaving fans exhilarated. On the other hand, Billy Corgan’s set was a more introspective journey, beginning with the haunting “Dance Hall” and moving through raw, emotional tracks like “The Zowie.” The set ended with the poignant “The Long Goodbye,” leaving us with a sense of nostalgia and admiration for his artistry.
Loathe kicked things off their set with their intense tracks, “Gored” and “Screaming,” followed by the powerful “Heavy is the Hand That Falls with the Weight of a 1000 Thoughts.” Imminence brought an emotional punch with “Heaven Shall Burn,” “Ghost,” and “The Black,” while Bowling For Soup lightened the mood with fun anthems like “Almost,” “High School Never Ends,” and “1985.” Alpha Wolf delivered raw energy with “Haunter” and “Pretty Boy.”
The Butterfly Effect stirred up nostalgia with “Words of Fire,” “Nil By Mouth,” and “Always.” 311 energised the crowd with “Beautiful Disaster,” “Come Original,” and “Down,” while Alex Lahey brought her unique sound with “Every Day’s The Weekend” and “Congratulations.” The Living End rocked the crowd with “Second Solution,” “Roll On,” and “Prisoner of Society.” Frank Turner’s heartfelt performance included “No Thank You for the Music” and “Recovery,” and Taylor Acorn charmed the audience with “I Think I’m In Love.”
Northlane’s “Carbonized,” “4D,” and “Clockwork” brought a heavy yet melodic vibe, while Killing Heidi’s “Mascara” and “Superman/Supergirl” got the crowd singing along. L7’s “Andres,” “Scrap,” and “Shitlist” brought fierce, grunge energy, and Jet’s hits “Last Chance,” “She’s A Genius,” and “Rip It Up” had the crowd rocking. Grandson finished their set with a bang, performing “Oh No!,” “Eulogy,” and “Blood/Water,” leaving everyone electrified for what is to come from many other talented performers.
Dragon’s performance was an absolute highlight for me, as they brought incredible energy to the stage with timeless classics like “Speak No Evil,” “Still in Love,” and “Young Years,” proving once again why their music resonates with fans across generations.
Sheldon Ang Media would like to thank Dallas Does PR, Destroy All Lines and Good Things Festival for the accreditation.
About the Writer and Photographer: Originally hailing from Western Australia, Jeana Thomas now thrives in the vibrant city of Melbourne. Amidst the hustle of her role in a prominent teaching hospital, she also navigates the dynamic world of entrepreneurship as the owner of a medical transcription company. Beyond her professional endeavours, Jeana finds solace and joy in the rhythm of music, the allure of travel and the artistry of photography, with a particular passion for wildlife photography. She embraces the spirit of festivals, the excitement of sports, and theatre, the laughter-inducing antics of comedy, and the electrifying atmosphere of live music performances. She cherishes each experience as a chance to immerse herself fully in life’s rich tapestry
About Sheldon Ang Media: Sheldon Ang Media (est. May 2022) has been accredited to more than 130 of the hottest acts including Coldplay (Perth),Taylor Swift (ERAS Tour in Sydney), KISS, Iron Maiden, RHCP, P!NK and The Kid LAROI with reviews shared by the likes of Belinda Carlisle, UB40, Delta Goodrem, The Wiggles and Toni Childs on social media. The founder has interviewed rockers Suzi Quatro, Ace Frehley (KISS), John Steel (The Animals), Frank Ferrer (Guns N Roses), Phil X (Bon Jovi), Andrew Farris (INXS) plus over 70 artists. SAM is also a music journalist on the Triple M Radio network.
