Ozzy Osbourne Finale Greatest Moments

Saturday was all about paying tribute to Black Sabbath and each single act on the invoice carried out a minimum of one cowl observe. Openers Mastodon (who decried that the following day would be the “biggest steel present of all time”) began the pattern off in spectacular vogue with their rendition of “Supernaut.” Drummer Brann Dailor dealt with lead vocals and did a terrific job of matching the well-known depths of energy that Ozzy summons up on that Sabbath traditional. The observe’s closing stretch was crammed out by some extra on-stage percussion from members of Gojira and Instrument, setting the tone for a day of covers, collaborations and white-hot steel performances.

The monster lineup of “Again to the Starting” celebrated steel in all its kinds, from blues revivalists to thrash legends to gnarly trendy masters. Lamb of God fall firmly within the latter bracket. Their intense groove steel is as anthemic as it’s razor-edged, and their mid-afternoon set drags Villa Park to new ranges of depth. Frontman Randy Blythe stalked the stage like a hungry hyena, inciting numerous mosh pits and thanking the 4 Sabbath members for “inventing steel.” Ending with the unusual sight of Blythe throwing each of his sneakers into the gang, Lamb of God’s set is as quick, head-spinning and satisfying as a fast pull on a bootleg cigarette.

One of many evening’s low-key heroes was Excessive guitarist Nuno Bettencourt who, between his shifts in varied supergroup performances, spent extra time onstage than every other musician. He joined Sleep Token drummer II and Yungblud for a rendition of Sabbath’s “Adjustments,” an emotionally resonant ballad that feels tailored to be belted out by the expressive, charismatic Yungblud. This author occurred to be in the identical location as Sharon Osbourne throughout the efficiency of the observe and might verify it lowered her to floods of tears. Given the music’s reflective, private lyrics and the well-known latter-day model that includes her and Ozzy’s daughter Kelly, it’s not onerous to see why she – and the remainder of us – would have discovered it a deeply poignant pay attention.

The primary of many legendary musician supergroup team-ups noticed a uncommon two-track look by ex-Ozzy solo guitarist Jake E. Lee. Accompanied by the likes of Religion No Extra’s Mike Bordin on drums and Megadeth’s Dave Ellefson on bass, he entered the stage to monumental applause from each the gang and his bandmates, and regarded a little bit overwhelmed by the acclaim. In October 2024, Lee was shot in a random act of violence and positioned in intensive care, however rallied again to the stage. The fondness wasn’t prolonged to Disturbed frontman David Dramian, who was repeatedly booed every time addressing the gang throughout his transient stint onstage, earlier than meekly departing. Google is your buddy if you happen to’re questioning what might need elicited this response.

The second supergroup slot concerned a very dizzying variety of musicians intertwining with each other throughout an array of canopy songs. The opening part of this fascinating, enjoyable stretch of the present was a selected spotlight. Blink-182’s Travis Barker, Instrument’s Danny Carey and Pink Scorching Chili Peppers’ Chad Smith accompanied Tom Morello and others in a deconstructed model of Sabbath’s “Symptom of the Universe,” taking it in turns to bust out fiery solos. Barker pulled out his regular methods, but it surely was Smith and his tiny (in comparison with Carey’s) equipment which proved an intuitive delight to look at.

Towards the top of the aforementioned second supergroup slot, a stellar lineup that features Chad Smith, Rage Towards the Machine’s Tom Morello and Aerosmith’s Steven Tyler got here collectively for Led Zeppelin’s “Entire Lotta Love” and Aerosmith’s “Stroll This Approach.” Tyler put in a implausible efficiency, exuding presence and swagger that sparked widespread admiration. Later within the night, Weapons ‘N’ Roses’ Axl Rose additionally silenced his critics. His typically patchy stay performances are well-documented, nonetheless he was in note-perfect, energetic type, significantly throughout a terrific cowl of “Sabbath Bloody Sabbath,” removed from the simplest vocal efficiency to emulate. 

Palpable pleasure coursed by way of the air previous to Metallica’s arrival. Opening with a stable, if un-spectacular cowl of “Gap within the Sky,” their set instantly shifts into fifth gear with a one-two punch of “Creeping Demise” and “For Whom the Bell Tolls.” The four-piece appear extraordinarily up for it, bouncing across the stage, pulling out all of the signature strikes (from bassist Robert Trujillo’s crab strolling to drummer Lars Ulrich’s gurning) and ripping by way of these iconic songs with such easy élan you’d suppose they have been of their observe room. not a stadium. By the point they end the solid-as-granite masterpiece that’s “Grasp of Puppets,” Villa Park was crackling with paroxysms of enjoyment.

The time had come for the prince of darkness to reclaim his throne. Seated on the entrance of the stage in an ornate black chair (atop of which is, after all, an enormous bat), Ozzy Osbourne defined to his feverish viewers: “I’ve been laid up for six f—ing years, you haven’t any thought how a lot this implies to me.” His phrases surmise the tone of this set, which noticed him give 5 of his most interesting solo tracks a run out.

He may not have the ability to stand, however his voice sounds immaculate, nonetheless possessing that signature quantity and heft, which drives the energetic likes of “I Don’t Know” and “Loopy Prepare.” Together with the frail and grateful Ozzy, one other surprisingly transferring sight is that of grizzled longtime guitarist Zakk Wylde stood by his aspect like a devoted previous guard canine, or maybe the satan’s favourite minion.

In fact, we finish the place it began. Black Sabbath’s unique lineup (Ozzy, guitarist Tony Iommi, bassist Geezer Butler and drummer Invoice Ward) took to the stage collectively for the primary time since 2005, for a half-hour set that opened with “Conflict Pigs,” adopted by “N.I.B.” and “Iron Man,” earlier than closing with “Paranoid.” 

Curiously, it’s bassist Butler who placed on probably the most eye-catching efficiency, reminding the world of his stature as one among rock’s all-time nice bass gamers. By the point they reached “Paranoid,” you sensed that the legends didn’t have a lot left within the tank. Nevertheless, following Ozzy’s request to “go f—ing loopy,” a plethora of mosh pits open all through the gang. It’s quick and candy and completely monumental; a remaining explosion of metallic sound from 4 epochal musicians whose affect is not possible to quantify. This spectacular occasion did them justice and poignantly steered that each finish is merely one other starting.