A tale of two headliners.
The sixth Good Things Festival landed at Sydney Showgrounds on Saturday, December 6th, 2025, not with a whimper, but with a perfectly executed one-two punch of rock genius.
A whole slew of noise was on offer on this scorching hot Saturday, from harsh punk and metal to, well, Weezer.
Though the sun was hot, the riffs were hotter. And the headliners? Blistering.
First came Weezer, rock’s most beloved geeks.
Rivers Cuomo, looking like a professor who misplaced his lecture notes but found a distortion pedal, led the crowd in a sun-drenched, sing-along catharsis.
Their set was a powder keg of nostalgia detonated with sheer fun.
The crowd morphed into a roaring choir for the ‘Buddy Holly’ finale, swayed as one during ‘Island in the Sun,’ and reached a fever pitch during the explosive chug of ‘Hash Pipe.’
It was a set built on simple, glorious hooks, ending on a wave of collective, grinning delirium.
Then, as night swallowed the sky, the mood shifted from a backyard party to a ceremonial descent.
Tool wasn’t on stage like most bands. Instead, they occupied a whole other plane of existence.
Maynard James Keenan was a shadow-puppet demon king, pacing and coiled at the rear, his voice a weapon cutting through the dark.
Before him, Danny Carey performed alchemy on his drum kit, conjuring tectonic rhythms that felt less like music and more like the earth’s own heartbeat.
Psychedelic visuals bled across the screens as they unfurled the epic, 23-year-dormant ‘H.’ and the monolithic ‘Fear Inoculum.’
It was a profound, heavy communion.
Where Weezer gave us the euphoric shout, Tool offered the cosmic whisper, leaving us utterly unraveled and reborn under the stadium lights.
