0
0
Live Review: Good Charlotte at Bendigo Racecourse
21 February 2026
Good Charlotte make their long-awaited Australian comeback with their first visit in eight years as part of the Motel Du Cap World Tour and the result is nothing short of an epic celebration of rock nostalgia. Supported by fellow scene heroes Yellowcard, Australian favourites Kisschasy, and rising openers Parker.
Singer/songwriter Sam Lethbridge aka Parker sets the tone and bursts open with bright hooks and earnest lyricism. His indie synth-pop set features crowd-warming tracks like ‘hazel’, ‘Local Paradise’ and ‘Teenage Daydream’ pulses with youthful urgency.
Kisschasy’s arrival triggers an immediate surge of Australian nostalgia. From the soaring chorus of ‘Opinions Won’t Keep You Warm at Night’ to the bittersweet punch of ‘Do-Do’s & Whoa-Oh’s’ and the anthemic ‘Spray on Pants’, the band delivers a set that felt both celebratory and defiant.
Kisschasy take their job as a support act seriously as they warm up the crowd on this 35-degree day. Frontman Darren Cordeux commands the stage with relaxed confidence, and the crowd responds in kind singing every word as if it were in the late 2000s again. Their performance is a reminder of just how influential they were in shaping our own local pop-punk identity.
‘We actually toured with Good Charlotte back in 2007 – it was a good year,” Cordeux reminisced. We were just on the cusp of releasing our album ‘Hymns for The Non-Believer’ at the time, and they continue to play a nostalgic song called ‘Strings and Drums.’
“We just put out our first new album in 16 years last Friday. We’re so incredibly proud of it and it’s been really cool to see how the way you guys have received it,” Cordeux exclaims as they play ‘Lie To Me’ from their latest record ‘Terrors of Comfort.’
Yellowcard follows with a set that elevates the emotional stakes. From the propulsive ‘Lights and Sounds’, they quickly get the racecourse bouncing. The unmistakable live violin lines of ‘Only One’ cut through the hot air with goosebump-inducing clarity.
The band is pumped to be playing some of the biggest shows in their entire career right now, especially considering they’ve been a band for a quarter of a century. “The sun is shining, we’re playing rock and roll and we’re in fucking Bendigo! It’s not often that when you’ve been touring for 26 years that you get to play in a new city for the first time, so this is rad,” shouts Yellowcard frontman Ryan Key.
Yellowcard just put out a new record last year called ‘Better Days.’ “We wanted it to be something that meant as much to you as it does to us in terms of returning to making music together and putting out a full-length album,” Key says. They continue to play a brand-new song that they’ve only played for the first time anywhere in the world on this tour called ‘Love Letters Lost.’
‘Bedroom Posters’ is another new track that’s a special one to play live on this tour given it features Joel Madden of Good Charlotte and brings together the shared love between both bands and their fans for the nostalgic and emotional collaboration.
There’s something uniquely cinematic about Yellowcard live — the blend of orchestral flourish and driving guitars feels expansive, especially in an outdoor setting. By the time they close with ‘Ocean Avenue’, arms are draped over shoulders across the crowd and voices rise in unison.
As the night falls, the lights drop and the opening chords of ‘The River’ tear through the warm night air for an explosive entrance. Joel and Benji Madden emerge like prodigal sons. The band wastes no time launching into ‘Dance Floor Anthem,’ its pulsing beat transforming the racecourse into a mass of bouncing bodies. Thousands shout every word back at the stage, as if determined to prove that time had only strengthened their devotion. ‘Last Night’ and ‘Girls & Boys’ follow in quick succession.
“We’re not gonna be perfect tonight, but we’re gonna try. We’re very happy to be back in Australia – it’s been too long, but we’re back!” shouts Benji
“We have two jobs tonight – if it’s your first time, we need to make this the best Good Charlotte show you’ve ever seen in your fucking life. If you’ve seen us before, we need to make this the best Good Charlotte show you’ve ever-fucking seen in your life!” Joel exclaims.
The production matches the scale of the occasion. Giant LED backdrops flicker with gritty urban imagery and archival footage, while towering flame jets punctuated choruses like exclamation points. Yet despite the spectacle, the heart of the show remains rooted in connection with their long-time fan base.
A darker shift arrives with ‘The Chronicles of Life and Death’, its brooding atmosphere cutting through the nostalgia with theatrical intensity. ‘The Motivation Proclamation’ reignited the crowd’s pogoing energy, while ‘Like It’s Her Birthday’ injected a shot of slick, dance-infused chaos as we all join in singing ‘Happy Birthday’ to those celebrating in the crowd tonight. The setlist masterfully balances eras, proving that Good Charlotte’s catalogue remains remarkably cohesive and full of angst and rebellion yet hopeful and heartfelt.
Mid-set highlights included ‘Wondering’ and ‘Bodies’, where the band show off their heavier edge. ‘Mean’ and ‘Actual Pain’ highlight their newest era of music from their latest record ‘Motel Du Cap’, reminding audiences that while the eyeliner may have softened, the emotional honesty hasn’t dulled. A particularly touching moment came with ‘We Are Done’ — originally a Madden Brothers track but reimagined here as a communal singalong.
The emotional core of the evening arrives with ‘Hold On.’ Before singing Joel and Benji share a heartfelt speech. “I want to say to anyone that’s out there tonight that has a dream, that’s working on something. No matter what it is if you work hard, things can happen, so don’t ever quit, don’t give up. Believe in yourself and when you fall down, get back up.” The song’s message of perseverance resonates deeply with fans.
They take us all the way back to the year 2000 with the song ‘Little Things’ that started it at all, and it triggers one of the loudest singalongs of the night — an anthem that has somehow lost none of its bite or relevance.
“We grew up in a small town and the first time we ever left the United States and got our passports was to come to Australia in 2001 – you guys changed our lives. It was the first place to play our music on the radio, on TV and the first place to give us a chance in the world – Australia led the way, baby!” Joel proclaims.
They dive deeper back into their roots with ‘Young And Hopeless.’ “When we were younger, we did feel young and hopeless, and no one gave a fuck about us. But we started this band and for many years, we tried our hardest and no one gave a shit about it. And then you come somewhere where people just give you a chance, they listen to you, they listen to your music, and you never forget it.” Joel shares.
“I hope that in your life, that you have somebody like that, that gives you a chance. Even sometimes we fuck up, but it’s all about giving each other a chance to make up for it, to be better, and you guys have always seen us through everything. I just appreciate the support, and everybody here has given us over the last, almost three decades,” Benji reminisces.
‘I Just Wanna Live’ arrives like a mission statement, its defiant swagger bridging teenage rebellion and adult resilience. By the time ‘Lifestyles of the Rich & Famous’ rings out, it’s clear this isn’t merely a nostalgia act trading on early-2000s glory. Good Charlotte sound tight, energised and fully present. The Madden brothers move with seasoned confidence, trading smiles and riffs with guitarist Billy Martin and bassist Paul Thomas, while drummer Dean Butterworth anchors the chaos with thunderous precision.
‘The Anthem’ serves as the final singalong as the entire racecourse becomes one voice for the euphoric, cathartic, and deeply communal reminder of how formative this music has been for an entire generation. Good Charlotte’s return after eight years was an unforgettable night and a reaffirmation that delivered a celebration of rock nostalgia and royalty that will linger long after the final chord faded into the Bendigo night.
Words by Michael Prebeg
