BY: PHILIP SAYBLACK

Collective Soul fans are getting a lot to like from the band this summer.  The band will launch a new tour alongside +Live+ Tuesday in Auburn, WA.  Along with its launch a brand new documentary focused on the band’s history will be released on VOD and Blu-ray/DVD combo pack.  Titled, Give Me a Word: The Collective Soul Story is a presentation that fans of the veteran rock act will certainly enjoy.  That is due in large part to the story in question.  The music that is shared throughout the course of the nearly 2-hour documentary adds to the appeal.  The collective editing and pacing therein puts the finishing touch to the whole.  When they are considered alongside the documentary’s story and all of the familiar music, the whole makes Give Me a Word: The Collective Soul Story a presentation that the fans established audiences and more casual listeners alike will find engaging and entertaining.
Give Me a Word: The Collective Soul Story, the brand-new forthcoming documentary about Collective Soul, is a presentation that is certain to engage and entertain a wide range of audiences.  That includes the band’s established audiences and more casual listeners.  The presentation is grounded in…well…the story.  The story is told through the comments of the band members past and present, as well as some very well-known celebrities.  Among the most notable of those well-known celebrities who share their stories related to Collective Soul are the likes of Matt Pinfield (former MTV veejay), Sammy Hagar (ex-Van Halen, Chickenfoot), and none other than country music legend Dolly Parton.  The story follows Collective Soul from its infancy in the early 1990s, working to get its music played at a local college radio station in Georgia to its unlikely meteoric rise to fame in 1994, to legal issues that the band would face due to someone close to the band, to changes in the band’s lineup along the way and band members’ own struggles, to ultimately where the band sits today atop the upper echelons of the rock community.  In other words it is a presentation of the band warts and all.
The celeb comments added to the story add to the presentation’s interest in their own right.  Case in point is Pinfield’s anecdote about how he played one of Collective Soul’s songs for Metallica at one point, earning the band’s interest.  That is quite the compliment, that a band the caliber of Metallica would show interest in Collective Soul, even so early on in Collective Soul’s development.  Hagar’s comments are of equal interest as he discusses front man Ed Roland’s chops as a songwriter and the overall talent of the band.  Perhaps the most eye-opening anecdote of all comes as it is revealed that Dolly Parton covered the band’s timeless hit, ‘Shine’ for a covers album, leading to a Grammy® award win for her.  Roland’s reaction as he shares the anecdote will make for plenty of laughs.  Between these anecdotes and the rest of the story, the whole of the 1-hour, 42-minute (not counting end credits) proves a presentation that in itself will certainly appeal to a wide range of audiences.
The story at the center of this doc is only part of what makes it appealing.  Throughout the course of the presentation, audiences get tastes of some of Collective Soul’s biggest hits, including and not limited to: ‘Shine,’ ‘Better Now,’ December,’ ‘Where The River Flows.’  On the surface the inclusion of the songs may not seem like very much, but the aesthetic impact that their inclusion has on the overall presentation adds plenty of secondary appeal.  Established audiences will enjoy and appreciate the familiarity while newer audiences will enjoy and appreciate the exposure to music to which they might not have otherwise heard.  To that end, the inclusion of so much of the band’s music not only adds to the doc’s appeal in general but also plays a potential latent function; a positive function at that.
Putting the finishing touch to the documentary is the general editing and the resultant pacing thereof.  Thanks to the editing, the band’s story, told again through so many anecdotes and comments from the band and others, the nearly 2-hour presentation flows from beginning to end fluidly.  At no point will audiences feel lost or even the need to fast forward.  Thanks to the editing, every comment and anecdote leads to another interesting item, thus keeping viewers fully engaged and entertained in this fashion.  Even the music plays into the editing.  The music presented throughout matches the album being discussed and the life events from the band related to said album.  Again, therein is that aesthetic appeal that partners with the general appeal to make the whole a presentation that moves solidly from beginning to end.  When the overall positive impact of the editing and pacing is considered alongside the documentary’s overall content, the whole therein makes Give Me a Word: The Collective Soul Story a presentation that Collective Soul fans established and otherwise will equally enjoy.
Give Me A Word: The Collective Soul Story, the brand-new documentary about the noted veteran rock outfit, is a work that fans established and otherwise will appreciate.  That is due in no small part to its featured story.  The story takes audiences through the life of the band, warts and all, showing all of the band’s highs and lows alike.  That includes the highs and lows of the band’s members in their own lives.  The music connected with the documentary makes for a rich appeal for audiences because it is the music that served to make the band the global sensation that it is today.  The documentary’s editing and related pacing put the finishing touch to the presentation, ensuring collectively that audiences will remain engaged in all of the noted content throughout the doc.  Each item examined is important in its own way to the whole of the documentary.  All things considered they make Give Me a Word: The Collective Soul Story a presentation that audiences established and otherwise will find enjoyable and worth adding to their music libraries.
Give Me a Word: The Collective Soul Story is scheduled for release on VOD and Blu-ray/DVD combo pack Wednesday.  More information on the doc is available along with all of Collective Soul’s latest news at:
Website: https://collectivesoul.com
Facebook: https://www.facebook.com/collectivesoul
Twitter: https://twitter.com/collectivesoul

BY: Kathi Gullage

This is a review of the “live” stream that was broadcasted on a two hour delay. The overall
performance was worth more than the thirty dollar fee to view it.

Mastodon was the official opener and they were spot on. Perfect choice to set the pace. They
played “Black Tongue” from The Hunter and “Blood And Thunder” off of Leviathan. Their set
had quality sound and included a nice axe duet. Their Black Sabbath cover was decent, Vol. 4’s
“Supernaut”.

Jason Momoa, actor, hottie and heavy metal fan, was the master of ceremonies. “Metal is in all
of our DNA and we’re here to celebrate heavy metal!”

Rival Sons also had exceptional sound quality, I absolutely love Jay Buchanan’s voice! The
band performed “Do Your Worst” off of Feral Roots and sandwiched their Black Sabbath cover
in the middle of the set, a nice rendition of Paranoid’s “Electric Funeral”. They wrapped with
“Secret” (Just Bring Me a Jar Full of Shine) from Great Western Valkyrie. As much as I dig their
bluesy rock sound and enjoyed the set, I wouldn’t classify them as metal.

Anthrax fucking killed it as I knew they would! I have always loved these New York Hardcore
bangers. They fed us Among The Living’s “Indians” while they jumped around and really had fun
out there. Joey Belladonna still hittin those notes. Their Sabbath cover was “Into The Void” from
Master of Reality. The crowd responded to the kick ass set with multiple pits. This is what Back
To The Beginning is all about. Yet we only got the two songs.
​
Halestorm was a breath of fresh air with a dose of desperately needed female bad assery in the
form of the fabulous singer and guitarist Lzzy Hale. Halestorm cranked out “Love Bites (So Do
I)” from The Strange Case Of.... Lzzy addressed the crowd, “Where are my women of heavy
metal?!? I see you! I feel you! Here’s one for you! It’s new!” and segued into “Rain Your Blood
On Me” off their new album Everest. Halestorm’s tribute song was a nod to Ozzy’s solo career
with “Perry Mason” from Ozzmosis, and was a fitting song choice.
​
Lamb Of God was hardcore thrash metal in your face from beginning to end. Randy Blythe
delivered neck vein popping screaming growls into our veins. They slapped us with “Laid To
Rest” from Ashes Of The Wake and Sacrament’s “Redneck”. Lamb Of God delivered one of the
more powerful Sabbath covers with another cut from Master Of Reality, “Children Of The
Grave”. The earth was still shaking when they exited the stage, and not just from the mosh pits
and head bangers.

The menagerie of talented musicians and icons known as “Supergroup A” was next up,
orchestrated by acting maestro, the talented Tom Morello. First up was a decent rendition of
OZZY’s title track, “The Ultimate Sin” featuring Lzzy Hale, Nuno Bettencourt (Extreme), Jake E.
Lee (OZZY/Badlands), Dave Ellefson (Megadeth), Mike Bordin (Faith No More) and Adam

Wakeman (OZZY). Nuno and Lzzy exited and were replaced by David Draiman (Disturbed) who
was disturbingly greeted with a resounding number of boos from the crowd. It didn’t deter
Draiman from belting out solid covers of OZZY’s “Shot In The Dark” off The Ultimate Sin (Jake
E. Lee fumbled the beginning but quickly recovered) and Sabbath’s “Sweet Leaf”, another
Master Of Reality track. For the latter Jake E. Lee was swapped out for Nuno and Scott Ian
(Anthrax). For the beloved cut off of OZZY’s Diary Of A Madman, “Believer”, Draiman, Ellefson
and Bordin are replaced with Whitfield Crane (Ugly Kid Joe), Frank Bello (Anthrax) and II (Sleep
Token). For the final song, Ian and Crane are out and Yungblud is in to cover Sabbath’s ballad
“Changes” from Vol. 4. The song was dedicated to the late footballer Diogo Jota. I saw some
fans crying during this, overwhelmed with emotion. I appreciate Yungblud’s talents, that he took
a risk and chose a ballad, and certainly his activism. However, I wasn't a big fan of this one. I
didn’t think I could hear the chorus one more time. It’s rumored that Yungblud gifted OZZY a
cross necklace backstage, similar to one the Prince of Darkness bestowed upon him during the
shooting of “The Funeral” video.

A prerecorded “School Of Rock” skit was played on the giant screens at the venue. Jack Black
appeared in a fringed suit, a nod to OZZY circa 1981. He was flanked by Roman Morello (Tom’s
son) on guitar, bassist Revel Ian (Scott’s son), drummer Yoyoka Soma and Hugo Weiss on
synth. They served up “Mr. Crowley” from Blizzard Of Ozz and it was great, I was entertained.
One of the main reasons I wanted to watch Back To The Beginning was to see Alice In Chains.
And the moment was upon me. This was the first time drummer Sean Kinney performed since
his medical scare back in May. It was opening night of a handful of AIC dates and just as I was
walking into the venue, Mohegan Sun Arena, they announced the show was cancelled. Sean
apparently was taken from the casino via ambulance for a “non life threatening medical
emergency”. The band ended up cancelling all of their dates. The four members took the stage
for their too early, too short, fifteen minute set. The crowd was already cheering. They
immediately belted out “Man In The Box” from Facelift. Sean looked and played great! I was so
relieved! Duvall’s vocals were on point, heard him loud and clear, he had a cool vibe with his
fringed jacket and he worked the whole stage. Bass player Mike Inez was OZZY’s bass player
from 1989-1993, an appropriate connection to the event. Jerry Cantrell was lookin fine as hell
with his black shades and black leather jacket and black leather pants and long blonde locks.
His powerful precise riffs poked everyone in the soul. But, as I have encountered at previous
Jerry gigs, I. Could. Not. Hear. Him. Sing. Next up was “Would” off Dirt. The fans went nuts.
Duvall addressed them, praised the members of Black Sabbath and then stated “We are all
head banging, riff loving freaks! We are one tribe! One people!” Their Sabbath cover was one of
the best, with Cantrell flawless on his iconic axe, “Fairies Wear Boots”, a cut from Paranoid.
And. Then. The. Fukin. Audio. Cut. Out. Right in the middle of the song. I lost my mind and
immediately hit the chat to complain with a million other people. We would be redeemed, but we
were pretty pissed off in that moment.

I was excited to see Gojira’s set with their signature technical metal sound. The French band put
on a helluva show at the 2024 Summer Olympics and holds the record for the loudest
concert/sound ever recorded at the Stade de France venue. They opened with two from

Magma, “Stranded” and “Silvera”. The music thundered through the Gojira loving crowd.
However, I couldn’t hear Joe Duplantier’s vocals. The booming sound coming off the
instruments overpowered his voice. They brought out mezzo-soprano Marina Viotti to assist in
recreating the infamous performance of “Mea Culpa (Ah! Ca ira!)”. Thankfully Marina’s vocals
shone through. Their Black Sabbath cover was Vol. 4’s “Under The Sun/Every Day Comes And
Goes”. It was a powerful set, but better sound quality could’ve leveled it up.

It was time for the obligatory drum solo. This one was cool though. A drum off between Travis
Barker (Blink 182), Chad Smith (RHCP), and Danny Carey (Tool) whose kit dwarfed the others.
Their accompaniment were Tom Morello (RATM), Nuno Bettencourt (Extreme) and Rudy Sarzo
(Quiet Riot/OZZY/Whitesnake). They covered Black Sabbath’s “Symptom Of The Universe” off
Sabotage. Barker was the clear winner, he’s a bad ass drummer.

“Supergroup B” got their turn at the helm. First up was Billy Corgan (Smashing Pumpkins), Tom
Morello (RATM), Rudy Sarzo, Adam Jones and Danny Carey (Tool), and fittingly KK Downing of
Judas Priest - since they covered “Breaking The Law” off British Steel. With Billy on vocals,
some parts worked, some parts didn’t, but he was very passionate about the assignment. They
brought Adam Wakeman in on the keys for their rendition of Sabbath’s “Snowblind” from
Sabotage. Morello played with his mouth and “Sabbath Rules” was in big letters on the
underside of his axe. An ode to OZZY’s solo career was next with Diary Of A Madman’s “Flying
High Again” performed by Sammy Hagar backed by Bettencourt, the tragically underrated
Vernon Reid (Living Colour), Sarzo, Chad Smith (RHCP) and Wakeman. The band killed but it
wasn’t the best song choice for the Red Rocker. They swap out Reid for Morello to perform the
throwback Sammy hit, Montrose’s “Rock Candy”. Sammy is out and Tobias Jens Forge, aka
Papa Perpetua (Ghost), is in, Morello is swapped for Reid and Barker replaces Smith for
OZZY’s title track “Bark At The Moon”. Again, the band was tight but it wasn’t the right song
choice for the vocalist. It’s rumored that it wasn’t one of his top choices. The set was saved with
the final surprise guests. We knew one was Steven Tyler (Aerosmith) cuz we heard him yelling
“I got no mike! I got no mike!” off stage in his distinct voice. He was backed by Morello,
Bettencourt, Ronnie Wood (Rolling Stones), Andrew Watt (producer/musician), Sarzo and
Barker. They killed it with a cover of “Train Kept A-Rollin”, an excellent song choice from Get
Your Wings. Morello attempted to one-up Wood, but the veteran was ready for him and proved
a worthy adversary. Wood exits and Barker is replaced by Smith for “Walk This Way” off Toys In
The Attic. Tyler’s voice and the sound quality were on point. They wrapped with a shortened
version of “Whole Lotta Love”, Led Zeppelin II.

Us livestreamers got little vignettes when the bands changed on the rotating stage. One was a
video shot documentary style, “Sounds of Birmingham”. It showcased local business owners
and Black Sabbath fans. There were also short vids sent in by fans. I didn’t mind it at first but
then they looped the same footage over and over. It got old. Thankfully they had another
segment, “Earlier in the Day”, and we finally got to see Jerry Cantrell in all his glory with Alice In
Chains perform “Fairies Wear Boots” without the sound being interrupted. Redemption.

Pantera was on deck. They dedicated their first song to the lost founding members, Dimebag
Darrell and Vinnie Paul. Zakk Wylde and Charlie Benante (Anthrax) are now touring with original band members Phil Anselmo and Rex Brown. They played title track “Cowboys From Hell” and the fans went nuts. Zakk Wylde is a guitar legend and fukin madman on stage. In a kilt.
Anselmo’s vocals were washed out, couldn’t hear him at all but they played such bangers it
didn’t matter. “Walk” from Vulgar DIsplay Of Power found even Momoa in the pit! Although I
couldn’t decipher Phil even when he talked, he somehow got a Black Sabbath chant going back
and forth with the crowd. Their Sabbath covers were two from Paranoid, “Planet Caravan” and
“Electric Funeral”. Pantera is on tour through the end of September and then Zakk will tour with
Zakk Sabbath. It’s him and two other guys doing Black Sabbath songs, dates run November
through December. I’m already holding a pit ticket to that gig.

The fans were excited to see Tool. People seem to love singer Maynard James Keenan and his
crew. I’m not a huge fan but I watched the set objectively. The band, who puts out an album
every five to thirteen years, played two of their hits from AEnema with a Sabbath cover in
between. The band was tight, sounded great but I could only hear Maynard when he sang the
chorus or hit the high notes. Tool performed “Forty Six & 2”, Sabbath’s “Hand of Doom” from
Paranoid, and title track “AEnema”. It was a pretty solid set.

The godfathers of thrash metal, Slayer, took their respective spots and unleashed a
powerhouse six song set. They set it off with “Disciple” from God Hates Us All and “War

Ensemble” off Seasons In The Abyss. Multiple pits broke out. Their cover, a song from the self-
titled Black Sabbath album, was “Wicked World” and it suited them. They wrapped their set with

three of their biggest hits, title track “South Of Heaven”, and two from Reign In Blood, “Raining
Blood” and “Angel Of Death”. Their sound came through clear. Nothin fancy here, just pure
metal muscle continuously punching you in the face.

Another band that was allowed a six song set was up next, Guns N’ Roses. They opened with
Axl Rose on the piano for a cover of Sabbath’s “It’s Alright” from Technical Ecstasy. It was a
total buzz kill. This is how they followed up from that savage Slayer set? They tried two off of
Black Sabbath’s Never Say Die! with the title track followed by “Junior’s Eyes” before attempting
another title track, “Sabbath Bloody Sabbath”. They finished their set with two of their greatest
hits, Appetite For Destruction’s “Welcome To The Jungle” and “Paradise City”. We all know
these songs. I had to really focus to understand what Axl was singing. I could hear everything
but the band just didn’t sound great. I’m always happy to see Slash, but I would’ve preferred a
bigger helping of Alice in Chains or Anthrax and a shorter GNR set.

One more stop before the main event, the thrash metal band everyone knows, Metallica. I’ve
seen them live fifteen times and I’ve never seen a bad Metallica show. I’ve seen em in a bar and
in a football stadium and they are consistently good. They opened with a Sabbath cover,
Sabotage’s “Hole In The Sky”. I’m not usually a fan of covers in general, but they pulled it off.
The band then threw down their classic hits that the fans were salivating for, two from Ride The
Lightning with “Creeping Death” and “For Whom The Bell Tolls”. Back to Sabbath with “Johnny
Blade” from Never Say Die!. They hit the fans with two from Master Of Puppets to close the set,

“Battery” which was an excellent song choice and they closed with the title track that put em on
the map. Quality sound and performance and I expected nothing less.

The Prince of Darkness, OZZY Osbourne himself, emerged in his black leather throne adorned
with a giant bat at the top, while a prerecorded version of O Fortuna played in the background.
He was met with a stadium full of adoring fans. His formidable five song set included four cuts
from Blizzard Of Ozz. He hadn’t performed the first three since 2018: “I Don’t Know”, “Mr.
Crowley” and the once controversial “Suicide Solution”. I’ve seen OZZY live a handful of times
and I have seen both poor and great performances from him. During this gig, he never got up
from the chair, one of his legs continued to bounce uncontrollably the entire time and he kept
spraying something in his mouth. Yet it was one of the best OZZY productions I’ve ever
experienced. He did “Mama, I’m Coming Home” from No More Tears. At first I kinda eye-rolled
cuz I like the heavier stuff but it got emotional. The Prince himself seemed to get choked up and
it hit me that this could be the last time I see him perform these songs. Reality check. His final
song choice was one of his most notable hits, “Crazy Train”. You were left with all the feels.
The other original members of Black Sabbath took their marks, drummer Bill Ward, bassist
Geezer Butler, and iconic lead guitarist Tony Iommi. As they emerged a video played on the big
screens, the history of Black Sabbath, as “Sabbra Cadabra” from Sabbath Bloody Sabbath
played in the background. We only got a four song set, with three from Paranoid, but those four
songs were performed flawlessly. “War Pigs”, followed by Black Sabbath’s “N.I.B.”. We lost our
shit at the unmistakable opening notes of “Iron Man” and too quickly the set closed with
“Paranoid”. The band got a standing ovation. The members exited but left OZZY out there in his
throne that he never rose from. I think they did it so the fans could have one on one praise for
the Prince of Darkness, but he seemed squirming and uncomfortable. He finally got off stage
and then fireworks went off behind the venue.

The show was worth the price, with more highs than lows. The event raised over $190 million
for charity and allowed people worldwide to see the original members of Black Sabbath perform
live for maybe the last time. If/When it’s released to the public, I encourage you to see it.

CREDIT: Billboard Magazine

Matt Cameron has given Pearl Jam his last kiss. The drummer announced on Monday (July 7) that he’s leaving the band after just more than a quarter century behind the group’s kit.

“After 27 fantastic years, I have taken my final steps down the drum riser for the mighty Pearl Jam. Much love and respect to Jeff [Ament], Ed [Vedder], Mike [McCready] and Stone [Gossard] for inviting me into the band in 1998 and for giving me the opportunity of a lifetime, filled with friendships, artistry, challenges and laughter,” he said in a statement posted to Pearl Jam’s social media accounts. “I am forever grateful to the crew, staff and fans the world over. It’s been an incredible journey. More to follow. I thank you all from the bottom of my heart.”

The Eddie Vedder-fronted band also shared its own farewell to Cameron on the same post. “From being one of our first musical heroes in the bands Skinyard and the mighty Soundgarden, to playing on our first demos in 1990, Matt Cameron has been a singular and true powerhouse of a musician and drummer,” the rockers shared in a joint statement. “He has propelled the last 27 years of Pearl Jam live shows and studio recordings. It was a deeply important chapter for our group and we wish him well always. He will be deeply missed and is forever our friend in art and music. We love you Matt.”

Cameron first joined iconic Seattle grunge band Pearl Jam — which formed in the early ’90s — after drummer Jack Irons left. The first man behind the kit for the Grammy winning group was Dave Krusen, followed by Matt Chamberlain and Dave Abbruzzese. Cameron — who is also known for his work with Soundgarden, Temple of the Dog and others — was with Pearl Jam for the longest out of the four drummers, and also provided backing vocals and written multiple songs for the group.

Pearl Jam has landed 14 songs on the Billboard Hot 100 overall in its career thus far, including “Last Kiss,” which peaked at No. 2. Over on the Billboard 200, Pearl Jam has 13 top 10 albums on the all-genre list throughout its career so far, including No. 1 sets Vs. (five weeks, 1993), Vitalogy (one week, 1994), Backspacer (one week, 2009), No Code (two weeks, 1996) and Lightning Bolt (one week, 2013).

​

On July 5, music history will be made and now, fans around the globe won't miss a second. Ozzy Osbourne, the Prince Of Darkness, will take to the stage for his last-ever live performance, joined by the original BLACK SABBATH lineup for the first and last time in two decades.

With a lineup that reads like a Hall Of Fame roll call, "Back To The Beginning" isn't just a concert; it's a global celebration of metal, culminating in a final, thunderous farewell to the genre's godfather.
BLACK SABBATH's original lineup — Ozzy, Tony Iommi, Geezer Butler and Bill Ward — will reunite for the first time in 20 years to headline the sold-out event. They'll be joined by metal's most iconic and influential acts — METALLICA, GUNS N' ROSES, TOOL, SLAYER, PANTERA, GOJIRA, HALESTORM, ALICE IN CHAINS, LAMB OF GOD, ANTHRAX, MASTODON and RIVAL SONS — all performing as part of this monumental moment, now confirmed for a global livestream.

​With the concert, which proudly supports charities close to Ozzy's heart selling out in under 16 minutes, those who missed out on being there in person can immerse themselves in what is set to be the greatest heavy metal show ever. Broadcast directly from Birmingham, United Kingdom's Villa Park, fans around the world will be able to watch the entire metal family come together to celebrate Ozzy Osbourne's legacy, as he takes the stage for the last time. Ozzy is set to play his own short set before joining with BLACK SABBATH for their final-ever performance.

This won't just be watched, it will be remembered. For fans who've followed Ozzy's 50-year reign, the global livestream offers a front row seat to a once-in-a-lifetime goodbye. They'll have access to the raw livestream from 3:00 p.m. on July 5, and will also have exclusive access to rewatch the concert in its entirety for another 48 hours.
Livestream tickets will go on sale at 15:00 on Friday, June 6 at www.backtothebeginning.com.
Ozzy's wife and manager Sharon Osbourne said: "We had such an overwhelming demand from fans from around the globe, who couldn't get tickets to the show, and they took to social media, pleading with us to broadcast a livestream of the show. Being this is such a historic event, we just couldn't let them down."
"Back To The Beginning" will be captured, produced and distributed by Mercury Studios ("One To One: John & Yoko", "American Symphony", "Metallica Saved My Life"),who are pioneering the way for premium, music-driven storytelling across film, television, podcasts and immersive formats. Mercury has partnered with Kiswe — the global D2C streaming partner behind the record-breaking BTS concert livestream — to deliver this unforgettable moment of music history to fans across the globe.
AdvertisementKelly Sweeney, managing director of Mercury Studios, said: "Mercury Studios are incredibly proud to be involved in capturing this monumental milestone at Villa Park. 'Back To The Beginning' will be an unforgettable experience, and our aim is to deliver this moment to fans worldwide, wherever they are, so they don't miss out on seeing music history being made."
The all-day event at Villa Park, produced by Live Nation, will be hosted and compered by American actor Jason Momoa, and feature a supergroup of musicians.
This past February, Sharon told The Sun that her husband is struggling to walk amid his battle with Parkinsons disease, but that his singing voice is "as good as ever". She said: "[Ozzy's] very happy to be coming back and very emotional about this.
"Parkinson's is a progressive disease. It's not something you can stabilize. It affects different parts of the body and it's affected his legs. But his voice is as good as it's ever been."
AdvertisementProceeds from the "Back To The Beginning" show will support Cure Parkinson's, the Birmingham Children's Hospital and Acorn Children's Hospice, a Children's Hospice supported by Aston Villa.
According to Sharon, Ozzy, who paused touring "for now" in 2023 after extensive spinal surgery and rescheduled his "No More Tours 2" shows from going ahead several times because of illness, the pandemic and logistical issues, will not play any more shows after the Villa Park event.
"Ozzy didn't have a chance to say goodbye to his friends, to his fans, and he feels there's no been no full stop," she explained. "This is his full stop."
In addition, there will be a performance by a "supergroup of musicians" including Duff McKagan and Slash (GUNS 'N' ROSES),Billy Corgan (THE SMASHING PUMPKINS),Fred Durst (LIMP BIZKIT),K.K. Downing (JUDAS PRIEST),Jake E. Lee (OZZY OSBOURNE),Wolfgang Van Halen (VAN HALEN, MAMMOTH WVH) and Tom Morello (RAGE AGAINST THE MACHINE).
"It's an endless amount of people," said Sharon. "They're going to be doing some SABBATH songs, some Ozzy songs, and they'll all mix together. Different little groups will be coming on, but they're all icons."
The original lineup of BLACK SABBATH last performed in 2005. Since then, SABBATH has played in partial reunions but never in its original lineup.
"For Ozzy right now, it's definitely: 'I love you and good night'," Sharon told Reuters.
She added that Ozzy was doing well and excited about the gig. "It's stimulated him," she said. "He's very, very excited and very thankful that he can do it."
The legendary BLACK SABBATH frontman was diagnosed in 2003 with Parkin 2 — a very rare genetic form of Parkinson's. During a TV appearance in January 2020, the singer disclosed that he was 'stricken" with the disease which occurs when the nerve cells of the body degenerate and levels of dopamine are reduced. Dopamine is an essential chemical that is produced by these nerve cells which send signals to different parts of the brain to control movements of the body.
Ozzy's health issues, including suffering a nasty fall and dislodging metal rods placed in his spine following a quad-bike accident in 2003, as well as catching COVID-19 three years ago, forced him to cancel some of his previously announced tours.
While Osbourne's health issues forced him to scrap most of his live appearances, the musician said he would return if his condition improved.
Osbourne's previously announced European tour with guests JUDAS PRIEST, originally set for 2019 and then rescheduled three times, was officially canceled in early February 2023.
Despite his health problems, Osbourne has performed a couple of times in the last three years, including at the Commonwealth Games in Birmingham in August 2022 and at the NFL halftime show at the season opener Los Angeles Rams and Buffalo Bills game in September 2022.

Dave Grohl released Foo Fighters’ self-titled debut on July 4, 1995, and the band has been building up to the album’s 30th anniversary with a flurry of #FF30 content online — including the release of a Minor Threat cover that combined newly recorded vocals with an instrumental tracked back in ’95. Now the Foos are back with their first new song since the release of But Here We Are in 2023. It’s called “Today’s Song,” and it arrives with a statement from Grohl thanking the former members of Foo Fighters, with special mention for the late Taylor Hawkins.

“Today’s Song” finds Grohl in power ballad mode, reflecting on death and resilience and getting a lot of mileage out of explosive power chords. It’s kind of like a super-charged version of “February Stars,” and it’ll probably bring the house down at Foo Fighters shows. Here’s what Grohl has to say about it:

Over the years, we’ve had moments of unbridled joy, and moments of devastating heartbreak. Moments of beautiful victory, and moments of painful defeat. We have mended broken bones and broken hearts. But we have followed this road together, with each other, for each other, no matter what. Because in life, you just can’t go it alone.
It should go without saying that without the boundless energy of William Goldsmith, the seasoned wisdom of Franz Stahl, and the thunderous wizardry of Josh Freese, this story would be incomplete, so we extend our heartfelt gratitude for the time, music, and memories that we shared with each of them over the years. Thank you, gentlemen.
And… Taylor. Your name is spoken every day, sometimes with tears, sometimes with a smile, but you are still in everything we do, everywhere we go, forever. The enormity of your beautiful soul is only rivaled by the infinite longing we feel in your absence. We all miss you beyond words. Foo Fighters will forever include Taylor Hawkins in every note that we play, until we do finally reach our destination.
The current Foo Fighters lineup is listed as Dave Grohl, Nate Mendel, Pat Smear, Chris Shiflett, and Rami Jaffee. No word yet as to who will be replacing the recently fired Freese on drums when Foo Fighters return to the stage for a series of international dates this fall. Speaking of which, you can find the band’s tour dates below along with the new song.
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ABC/Travis Bell

​Foo Fighters are up to something, and they’re certainly not Wasting Light.
Dave Grohl and company have shared a Facebook post featuring four photos of the band seemingly in the recording studio. We say seemingly, since the photos are all very dark and barely lit.
A fan writes in the comments, “You need a decent photographer!!,” to which the Foos responded, “We aren’t known for our photography skills.”
The post’s caption doesn’t offer to much info, either — it only includes the year 2025 and #FF30. Notably, the Foos’ 1995 self-titled album turns 30 on Friday.
Foo Fighters also just put out a cover of a Minor Threat song on Monday, marking the first new release to follow their 2023 album, But Here We Are. Since then, the band has gone through a fair amount of turmoil between Grohl’s 2024 infidelity scandal and the May firing of drummer Josh Freese.
Foo Fighters are set to return to the live stage in October for a tour of Asia.
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By: Sean McKenna

​Etiquette (/ˈɛtikɛt, -kɪt/) can be defined as a set of norms of personal behavior in polite society, usually occurring in the form of an ethical code of the expected and accepted social behaviors that accord with the conventions and norms observed and practiced by a society, a social class, or a social group. 

“Etiquette”. Why are some amazing at it? Why are some terrible? Why is it important in the music business? 

Can’t believe we are talking about this, but here we are. A friend in Toronto, Ontario asked someone to a fill in show for them a while ago. He had to get a dental procedure and was not going to be able to do the shows. He asked a friend to fill in.  The new person rehearsed with the band, and the band told him the fill in player spent the entire weekend lobbying for the position. “Get rid of him, I’m better”. “I am going places” etc. 3/4 band guys told him in no uncertain terms this was extremely off putting. One of the band members said “Well, something to think about”. The guy even had a family member lobbying during the show.

Why don’t you do this?
-probably the lowest thing one can do
-the person should never be asked back
-the band member should be replaced 
- you are a guest, that is not the place
- you show people at a gig that isn’t your’s, you are not a team player 

It’s not your gig, you are being asked because someone thought enough of you to ask. And believe it when it’s said anyone who does that will make a name for themselves. Not in a good way. Be smart. Don’t be desperate, don’t be greasy. The music business, for what appears to be very vast, is actually the opposite. It is very small. When you do something well, it’s discussed. When you don’t, it circulates like wildfire. Showing up, being prepared, doing a great job, not being a problem. These are what get you invited back and invited to other shows. You have to play the long game. Sometimes, it’s not that long. 

I’ve had the opportunity to get to know Leland Sklar, Rich Redmond (Jason Aldean), Francis Ruiz (Buckcherry) Pete Evick (Bret Michel’s Band), amping others. This information is straight from them. You want gigs, practice this proper ediquette. You will be thankful you did.

Sean P McKenna is the host of the podcast “Barstools and Bandtalk”, as seen in Canadian TV, and hearts on the “Rock Rage Radio” network. He is a career live and audio drummer and “Mapex Drums artist”. He works with Canadian independent artist Michelle Ryder, who, in a short period of time, has amassed a global following with her music. Sean is available for info sessions, recording and artist interviews at [email protected]

BY: EVAN J. THOMAS

Every summer, legions of rock fans descend on open fields, stadiums, and fairgrounds for what’s become a rite of passage: the summer rock music festival. From legendary events like Louder Than Life, Welcome To Rockville, Riot Fest to newer niche gatherings, these festivals are a heady mix of music, heat, and community. But for all their thrills, summer rock festivals come with their share of downsides. Here's a look at the good, the bad, and the ugly of these seasonal sonic pilgrimages.

THE GOOD
1. The Lineups Are Epic
There’s no better way to catch dozens of your favorite bands in one weekend. Whether you're into classic rock, metal, punk, or grunge, the best festivals pack in massive headliners and introduce fans to emerging talent. The communal energy of thousands of fans singing along to the same riffs? Unbeatable.

2. The Atmosphere Is Electric
There’s something primal about live rock in the open air. Add to that pyrotechnics, crowd surfing, beer gardens, and midnight acoustic sessions around campfires, and you've got an unforgettable experience. For many, it’s more than music — it’s a temporary lifestyle of freedom, rebellion, and raw joy.

3. It’s a Community
Even if you're flying solo, you’ll never feel alone. Rock festivals are a meeting point for like-minded people from around the globe. Strangers bond over band tees, mosh pits, and shared sunscreen. It’s not uncommon to leave with lifelong friends — or at least a solid new playlist.

THE BAD
1. Logistics Can Be a Nightmare
Between long entrance lines, confusing parking setups, and overpriced concessions, the logistics of getting into and surviving a festival can be frustrating. Missed sets because of shuttle delays or traffic jams are all too common, and that’s before dealing with sketchy cellphone reception.

2. The Cost Adds Up
A general admission ticket might seem affordable — until you factor in travel, accommodations, meals, merch, and drinks. VIP upgrades and camping passes can quickly inflate a weekend into a four-figure investment. And while some festivals offer payment plans, the price of fandom can still sting.

3. Sound Quality Isn’t Always Great
Depending on the size and layout of the venue, sound bleed between stages, poor acoustics, or bad weather can kill the vibe. The front row might sound heavenly, but fans in the back may struggle to hear over the echo and chatter. Not all stages are created equal.

THE UGLY
1. Weather Can Ruin Everything
Sunburns, dehydration, and torrential rain can turn a dream weekend into a survival scenario. Mud pits, flooded tents, and heatstroke are real risks. While some fans revel in the chaos, others leave early — or not at all, stuck in the muck with a broken poncho and soggy boots.

2. Overcrowding and Safety Issues
With the surge in popularity, some festivals sell beyond capacity, leading to dangerously packed crowds, overwhelmed facilities, and sanitation nightmares. Bathrooms become biohazards. Emergency services can be slow. In worst-case scenarios, crowd surges have led to injuries or worse.

3. Substance Misuse and Burnout
While partying is part of the appeal, excessive drinking or drug use can spiral out of control. Add in heat and exhaustion, and you’ve got a recipe for medical emergencies. The “go hard or go home” attitude isn’t for everyone, and sometimes the toll on mind and body is too steep.

FINAL RIFF:
Summer rock festivals are a blast — when they’re done right. They offer a high-octane, immersive escape into the heart of rock ‘n’ roll culture, but they're not without hazards. Go prepared, pace yourself, and choose your events wisely. With the right mindset and some earplugs, they can be one of the best experiences of your life — just be ready for the chaos that comes with the chorus.