Billy Corgan fails to impress as solo act draws empty seats in Brisbane

In Australia, Billy Corgan, the frontman of The Smashing Pumpkins, recently experienced a small audience during his solo performance at the Good Things Festival in Brisbane. This performance took place in early December 2024, and it was notably a stark contrast to the large crowds he is accustomed to with his band. Reports indicate that only around 300 attendees were present, a significant decrease compared to typical turnout for The Smashing Pumpkins, where crowds can reach up to 20,000. Some festival-goers attributed the thin crowd to scheduling conflicts with other acts, particularly nu-metal band Korn, whose performance overlapped with Corgan's set. As many fans expressed, this clash made it difficult to decide which performance to attend, raising questions about the festival's scheduling decisions. This lack of attendance follows a previous surprise set Corgan played in Melbourne, which had generated more excitement among fans. In that performance, he delivered a six-song lineup that included his own music and two cover songs, to enthusiastic applause from attendees. Corgan's acknowledgment of Australia's unique musical culture may also resonate with his audience, as he highlighted the carefree spirit present in the country's rock music scene. This sentiment reflects a broader appreciation for the music landscape that has produced famous acts like AC/DC and Midnight Oil. Given Corgan's history as a frontman for a band that consistently draws large fanbases, the unexpectedly small crowd at this festival may indicate a shift in audience engagement or preferences for festival scheduling. The juxtaposition of his lively performance in Melbourne and the sparsely attended Brisbane show underscores the complexities of the contemporary music festival scene, where multiple significant acts may lead to divided audience interest. Furthermore, the reactions from fans on social media spotlight the ongoing dialogue around festival planning and artist scheduling, emphasizing the potential impact on both performers and attendees alike. As the festival season continues, Corgan’s experience at Good Things may serve as a cautionary tale for respective organizers and artists regarding timing and set placements. Addressing logistical challenges, especially concerning band appearances that attract large followings, remains crucial to ensuring both artist satisfaction and audience enjoyment in future events. Ultimately, the outcome of this festival performance could influence Corgan's future scheduling and interactions within the Australian music scene, as well as the strategic planning of festival appearances for other artists in similar positions.