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– July 22nd, 2026 –

Pre-Order / Pre-Save HERE

Release “Gjallarhorn” Single / Video – WATCH

AMON AMARTH announce The Allfather Awakens – a ten-song masterwork that further cements the legacy of the Swedish metal titan’s spectacularly memorable riffs and unflinching melodic aural power. The Allfather Awakens sees its release October 2 via Metal Blade Records.

For Amon Amarth, a new album marks the beginning of a new world. As with previous records, Oden, the Norse “all father” who is a deity of war, wisdom, death, magic, and poetry, is the through-line in Amon Amarth‘s lyrics and artwork. Once again, Oden is the band’s inspiration, but The Allfather Awakens is not a concept album, rather a collection of historically inspired epic tales of conflict and sacrifice for a greater good.

Following the release of Amon Amarth‘s first-ever acoustic excursion “Upphaf“, the band unleash The Allfather Awakens‘ opening track and epic tale of “Gjallarhorn“. Where the stripped-back “Upphaf” carried the solemnity of an oral history whispered under the shadow of the Allfather, “Gjallarhorn” arrives as a furious Amon Amarth classic. “Gjallarhorn’s” driving, upbeat guitar riff and high tempo, catchy chorus fuse with a few surprises that ensure itself to be a future live staple.

To gain wisdom beyond mortal comprehension, Oden made the ultimate sacrifice – gouging out his own eye and casting it into the Well of Wisdom, Mímisbrunnr, in exchange for cosmic insight and foresight that would shape the fate of gods and men alike. Now, Amon Amarth bring that ancient reckoning to life with “Gjallarhorn” – and they are extending Oden’s offer to you. Those who received the eye know what must be done. Those who did not: seek it out. Sacrifice your sight. Gain your foresight.

Listen / Share / Playlist “Gjallarhorn”

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Amon Amarth took a new songwriting approach for The Allfather Awakens, the band’s 13th album since 1998′s Once Sent from the Golden Hall. The album came to life across two recording sessions, months apart, at producer Jacob Hansen’s studio in Denmark. Amon Amarth began writing songs while touring, rather than waiting until they were off the road. The first session was Spring 2025; the final recording was completed in March 2026. The writing and recording process allowed the musicians to intensely focus on each track, resulting in an album where each song was treated as a single. “We worked on one song at a time and made each song as good as possible,” says guitarist Olavi Mikkonen. “Then we recorded one song at a time until each track was totally finished–drums, guitars, and vocals. Only then did we start on the next one.” Guitar-wise, Amon Amarth opted for a slightly less modern approach sonically, moving away from 5150 amps and back to Marshalls.

Music is written before lyrics, and often sets the tone for the words. The song that inspired the album title, “The Allfather Awakes,” was the last written for the album. With Oden as the titular “Allfather,” there is no shortage of historical influences heard across new songs like “Eight Legs of Thunder,” “Kvasir’s Blood” and “Die With a War Cry,” with the brutally beautiful lyrical rallying cry: “Facing destruction / Annihilation / Master your thoughts and mind.” The Allfather Awakens cover art is a powerful portrait of Oden by Tom Thiel, who created seven of the quintet’s album covers.

Pre-Save / Pre-Order The Allfather Awakens Here

Over 30 years later, Amon Amarth remains a band of brothers, and that loyalty and unity allow for harmony and a united front that conquers both the stage and record. Frontman Johann Hegg’s powerfully rendered lyrics on The Allfather Awakens‘ on “We Rule The Waves” sum up the band’s unrelenting intent. “From cradle until the grave / As long as the sun sets in the west / We rule the waves / Our restless hearts / Have brought us far / As far as Vinland’s shores / We’ve gone further / Than any man has ever gone before.”

From Amon Amarth‘s 1992 formation in Tumba, Sweden, to the worldwide fame they’ve found in the ensuing years, their lyrical, live and recorded musical legacy speaks for itself. Over the past few years the band have performed globally and alongside legendary acts such as Slayer, Iron Maiden, Slipknot, Pantera in addition to monumental takeovers of Los Angeles’ The Forum and Denver’s historic Red Rocks Amphitheatre to name a few. Across seas, Amon Amarth have headlined multiple major rock and metal fests including an epic performance at Germany’s Wacken in 2024 for 85,000. Elsewhere on UK/European soil, the Viking lords have twice headlined the UK’s storied Bloodstock festival, made four appearances at Download (2008 – 2019), and performed at Summer Breeze eight times (2003 – 2024) – six of them as headliner.

Their rapidly increasing sales and touring numbers, plus pre-release buzz to Amon Amarth‘s 2026 North American tour with Dethklok and Castle Rat, has managed to garner mainstream success without sacrificing either of their constantly evolving creativity or heaviness. Audience demographics run the gamut from pre-teens to 60-somethings, an inclusive metal experience for those who appreciate epic positivity and powerfully inspirational lyrics.

Their cultural influence cannot be overstated. To wit: The Row. The consensus is that the legendary “Viking row” by audience members first began during the 2009 Amon Amarth set at Bloodstock. Fans get on the ground and, in unison, imitate rowing an invisible longship in a powerfully unifying experience. With the 2022 release of the single and video “Put Your Back into the Oar,” Hegg said, “we thought it was a good idea to write a song about The Row! This one is for you, the fans, wherever you are-and may Oden guide you as you row to your destiny in uncharted seas!“

Over the years the phenomenon has spread to other artist’s’ concerts and global events including 2026 World Cup audiences – but thanks to video footage, it’s safe to say Amon Amarth audiences began the now-iconic trend. Last month, Hegg spoke to Norway’s public broadcaster NRK about the The Row‘s origin, read the interview HERE.

The Allfather Awakens is yet another step up, introducing previously untried efforts, an impressive and conscious musical and lyrical feat after three decades of band-dom. This autumn, The Allfather Awakens will take physical form on stage as the band unveils an entirely new production inspired by Oden’s legendary Golden Hall, transforming their iconic concert experience into a living extension of the new album. Amon Amarth perform across the U.K. and Europe. See below for a full list of worldwide dates; visit HERE for tickets and more info.

Credit: Sylwia Makris & Christian Martin Weiss

The Allfather Awakens Tracklist:
01. Gjallarhorn
02. Eight Legs of Thunder
03. Kvasir’s Blood
04. We Rule the Waves
05. Upphaf
06. Die With a War Cry
07. Raven God
08. The Allfather Awakes
09. Oden’s Hunt
10. Ascending Like an Eagle

Format Details:
CD: Digipak with 20-page booklet (US and EU)
CD: Deluxe Edition – 2-CD with lenticular cover – includes bonus audio Live from Summer Breeze 2024, 4 art prints and patch (EU)
CD: Jewel case – includes bonus tracks “Heidrun (Live at Graspop, 2023)” “Put Your Back into the Oar (Live at Hellfest, 2023)” (JP)
CD: Talk Shop Live Edition – Digipak with 20-page booklet – includes a band signed art print (US)
LP: Standard Edition – Single LP gatefold with lyric sheet (US and EU)
LP: Blood-filled “Oden Eye” Single LP (liquid vinyl) + poster + signed art print, and vinyl sized booklet (US and EU)
LP: Talk Shop Live Edition – Single LP – color “Oden’s Hunt” – includes a band signed art print (US)
Cassette: available in the EU + Amon Amarth’s US store
Digital/Streaming: all major platforms

US Vinyl Variants:
“Oden’s Hunt”
“Yggdrasil Burns” – Indie Exclusive
“Viking Blood Runs Red” – Metal Injection Exclusive
“Golden Hall Gold” – Amon Amarth Web Store
“Demons Ascend” – Metal Blade Web Exclusive
“The Rainbow Bridge” – Metal Blade Web Exclusive
“Mead of Poetry” – Metal Blade Web Exclusive
“Oden’s Eye Sky Blue” – Spotify Fans First
“Copper Gjallarhorn” + Amon Amarth Mead – Brimming Horn Meadery (D2C bundle)

For worldwide variants and more info, visit HERE.

Amon Amarth Live Dates:
UK:
Oct 09: England – Manchester, O2 Apollo
Oct 10: England – London, Eventim Apollo
Oct 11: England – Wolverhampton, Civic Hall
EU:
Oct 13: France – Paris, Zenith
Oct 14: Luxembourg – Esch sur Alzette, Rockhal
Oct 16: Germany – Stuttgart, Schleyer-Halle
Oct 17: Germany – Frankfurt, Festhalle
Oct 18: Belgium – Antwerp, Lotto Hall
Oct 20: Netherlands – Den Bosch, Mainstage
Oct 21: Germany – Hamburg, Sporthalle
Oct 23: Sweden – Gothenburg, Scandinavium
Oct 24: Sweden – Stockholm, Hovet
Oct 26: Finland – Helsinki, Ice Hall
Oct 27: Estonia – Tallin, Unibet Arena
Oct 29: Poland – Gliwice, PreZero Arena Gliwice
Oct 30: Germany – Leipzig, Quarterback Immobilien Arena
Oct 31: Germany – Oberhausen, Rudolf Weber Arena
Nov 02: Hungary – Budapest, Barba Negra
Nov 03: Austria – Vienna, Gasometer
Nov 04: Germany – Bamberg, Brose Arena
Nov 06: Czech Republic – Prague, O2 Universum
Nov 07: Germany – Berlin, Velodrom
Nov 08: Germany – Munich, Zenith
Nov 10: Italy – Milan, Alcatraz
Nov 11: Switzerland – Zurich, The Hall
Nov 13: Spain – Barcelona, Sant Jordi Club
Nov 14: Spain – Madrid, Vistalegre
Nov 15: Portugal – Lisbon, Sala Tejo

Amon Amarth Lineup:
Johan Hegg – Vocals
Olavi Mikkonen – Guitar
Johan Söderberg – Guitar
Ted Lundström – Bass
Jocke Wallgren – Drums

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Sometimes a new band starts up and chooses a godawful name—like Illwind. I’m not just referring to associations with flatulence either—though that certainly doesn’t help. It’s just a difficult name to research, especially for a band with such a small web presence. Google will direct you to the Radiohead song, “Ill Wind,” or a 1960s psychedelic band from Boston called Ill Wind, among other surprisingly numerous use cases for the term “ill wind.” In fact, I began to have some doubts the band was real, but further research shows they do have a label (Personal Records) as well as a list of band members who have a history in Peruvian bands like Arcada, Argul, and Cobra.¹ Having established this as a legitimate act with some experienced musicians, the final piece of the puzzle to solve is whether Illwind’s debut album, The Unfolding at the End of Light, is any good.

Illwind is a stoner doom outfit that creatively blends genres in some pretty groovy ways. Epic opener “Crimson Skies” gives you the first hint that things aren’t what they seem on the surface. After the song opens with the slow, plodding pace of funeral doom, vocalist Marcos Coifman’s baritone upends expectations by calling to mind the epic tones of Sorcerer and Visigoth. The funeral doom transforms into classic stoner doom with hints of Black Sabbath before ending on a series of elaborate guitar solos that have the spirit of ’70s rock acts like Lynyrd Skynyrd and the psychedelia of Pink Floyd and Blood Incantation. That The Unfolding at the End of Light ends on a cover by The Stooges, “I Wanna Be Your Dog,” tells us that Illwind doesn’t exactly have modernity in mind, and yet what they have crafted sounds fresh and sometimes exciting.

At heart, this is a work of stoner doom, with a plodding, relaxed pace and enough reverb on the guitar to give off the genre’s usual chill vibes. Illwind aims for exploration, falling securely in the school of Windhand, YOB, and Black Sabbath. They’re in no hurry, but they also don’t hold back the hooks. The guitars from Mauricio Guerrero hit all the right notes, providing distinctive stoner riffs from one song to another. And just when the tracks are about to hit their quota of stoner, he and fellow guitarist Andrés Rhor get creative with solos that transport you to another time and place like Bill and Ted stepping into a magic phone booth. It’s no hallucination if you see their solos come to life—they breathe and grow and take over a tune in a way that can be exhilarating.

How much you enjoy this depends on your level of tolerance of the stoner doom genre itself. Illwind are at their best when they go off the stoner script. The main issue is their stoner stuff can be a bit generic. This is especially true of some of the longer songs, like “God of Sleep” and the thirteen-minute “Lucifer’s Mule,” which grow repetitive. It works best in smaller doses: “Portal” and “Wanderer,” both around five minutes, provide the perfect amount of stoner riffs before breaking into the classic-sounding solos. Coifman’s voice, similarly, is good in doses, but over time his monotonous delivery adds to a feeling of stagnancy. Admittedly, though, when he opens up “Lucifer’s Mule” by singing “Tell me Lucifer” in his best impression of Ozzy, it’s a highlight of the record.

The Unfolding at the End of Light proves a good debut for a band whose members have experience in a mix of genres, from black metal to heavy metal to stoner doom. As innovative as Illwind proves to be in blending several old school genres, they’re not quite so innovative in their base genre of stoner doom. They write and play some good stuff, and with some refined songwriting, they could perfect their blend of genres or even give their stoner riffs a little more pizzazz. In the end, though, I think Illwind achieve success. This is a chill record with some outstanding moments that will have you stop and just say, “Whoa.”

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Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Personal Records
Website: Bandcamp
Releases Worldwide: July 3rd 2026

The post Illwind – The Unfolding at the End of Light Review appeared first on Angry Metal Guy.

Olivia Rodrigo, a real one, has been advocating for abortion rights since she first got famous. Rodrigo’s Guts Tour, for instance, made sure to feature a number of different feminist organizations, including the National Network Of Abortion Funds, though they had to stop handing out Plan B pills at their table partway through the tour. Now, she’s using the blockbuster moment of her you seem pretty sad for a girl so in love album release to draw attention to the many awful things currently happening with reproductive rights in America.

The post Olivia Rodrigo Discusses Abortion Bans With Center For Reproductive Rights appeared first on Stereogum.

Bloodstock Bound: Redscar

As Bloodstock gets closer, we delve deep into the line up to find out more about some of the bands playing the New Blood and EMP stages at this years event.

Today we chat with Redscar

Please introduce yourselves.

My name is Elliot, though most people call me Chariot and I am the frontman of Redscar. The other members are Jonny, Isaac and Jamie who play guitar, bass and drums respectively.

How would you describe your sound?

We tend to categorise ourselves as thrash/groove. We can absolutely give it hell for leather and blast out the pit inducing speed people love, but we also love to get really chewy heavy grooves going that you can sink your teeth into and bang your head along to.

How did you land your spot on the Bloodstock bill?

We fought our way through the M2TM Newcastle heats to secure our spot on the New Blood stage. Originally Redscar competed in their first M2TM last year and wound up all the way at the final, but ultimately Ruled by Raptors went on to win and have the honour of playing Bloodstock 2025.

How tough was the competition this year?

The competition was really fierce this year as there were not only old faces who’ve competed before, but there was tons of fresh bands scattered throughout this year who made it a really tight fight.

What does playing at Bloodstock mean to you?

Playing Bloodstock is such a massive honour. So many great bands have stomped around it’s grounds and entertained countless people so getting to play where they have is very special. Jamie is only 20 so to get Bloodstock under his belt as such a young age is hugely impressive as well. Isaac, Jonny and myself had the privilege of playing the then Jager stage, now the EMP stage, back in 2017 under the banner of Trendkill so to be back under the mantle of Redscar is astounding.

For people who’ve never seen you live, what can they expect at Bloodstock?

Our motto is shock and awe so we come in with a bang and keep going till we can’t give it any more. We also have two beautiful inflatable assistants we’ll be dressing up in Redscar t-shirts that we’ll be hurtling into the crowd for enjoyers to rip the shirts off their backs.

What day are you performing?

We’re playing Saturday 8th on the New Blood stage so if you’re about come and enjoy the riffs and fun.

What other bands are you looking forward to watching at Bloodstock this year?

I personally can’t wait to see Lamb of God, Sepultura, Priest, Body Count, Castle Rat and Carpenter Brut, and I know some of the other lads really want to see Slaughter to Prevail and Party Cannon as well as some of the aforementioned bands. In short as a collective we really want to see as many bands as we possibly can.

Playing the New Blood Stage is just the first steppingstone in a bands journey. What’s next in your plans for world domination?

Well we’ve got releases on the big platforms coming up for the run-up to Bloodstock so we want to continue that post ‘Stock with getting the best quality music we can out there to sonically assault all those who dare. We’re also getting more gigs lined up and down the country too so we’re by no means taking a break after Bloodstock, it’s all go! For info on all our upcoming shows you can head to redscarofficial.com

Are you camping with the fans? Which campsite are you heading for?

We’ll be camping in the artist campsite with weekend camping tickets being sold out, but we all either have witnessed the madness that can take place first hand like the legendary bin-jousting or have been told of just how bonkers it can get.

You’ve gotta keep hydrated at Bloodstock, what is your drink of choice for the weekend?

Ideally I’d take a so sour it twists your face into a ball cold and crisp lemonade, and for the other lads in the band if they can get their hands on one it’d be a Newcastle Brown Ale.

See you at Bloodstock in a few weeks!

See you there! We hope to see yourself and all The Razors Edge readers when we hit the New Blood stage.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Bloodstock Bound: Redscar appeared first on The Razor's Edge.

Few classic rock acts could claim such thrilling variation. Continue reading…

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The mastodon (the animal) went extinct about 10,000 years ago, but Mastodon (the band) refuse to go anywhere. The Atlanta metal maestros formed in January 2000 – “the Y2K thing didn’t happen, so we had a new lease on life,” singer/bassist Troy Sanders later joked – and quickly became one of their generation’s trailblazers. Where most of their New Wave Of American Heavy Metal contemporaries were out-and-out metal acts, they rewrote the script, adding prog, psychedelia and three-singer harmonies to their riffy onslaughts.

Since they broke through with savage single Blood And Thunder, the band’s story has been one of endurance. They’ve survived alcoholism (guitarist Bill Kelliher entered rehab in the early 2010s), the losses of loved ones (as tackled on 2017’s Emperor Of Sand and 2021’s Hushed And Grim), and even the departure and later death of founding guitarist/vocalist Brent Hinds in 2025. But through it all, Mastodon have been one of the most consistent forces in heavy music, and their relaunch with added members Nick Johnston (guitars) and Joao Nogueira (keyboards) spells a triumphant new era.

As the world prepares to hear their long-awaited ninth album, Marrow Deep, join Hammer on a march through Mastodon’s discography, in reverse-order of excellence.

8. Once More ’Round The Sun (2014)

Mastodon laid the groundwork for shorter and more instantaneous songs on 2011’s The Hunter, and Once More ’Round The Sun picked up where that album left off. High Road and the title track work as well as standalone rock radio singles as they do in the context of the album, which hasn’t always been the case with this band. But if we’re being picky, OMRTS loses half a point because it wasn’t such a huge leap forward from what had come before it. Even so, it’s still tremendous.

7. The Hunter (2011)

The Hunter has been called Mastodon’s Black Album, dialling back on head-spinning prog metal and serving up the anthems. Some consider this approach to represent the band at their finest, and you can’t fuck with Curl Of The Burl, Octopus Has No Friends or Black Tongue when it comes to horns-in-the-air, beer-swigging metal. Even though Mastodon are at their best when doing something challenging, this is still an essential listen – as well as a hugely important commercial breakthrough.

6. Hushed And Grim (2021)

Reeling from the death of longtime manager Nick John, the band followed Emperor Of Sand – a concept album about family members battling cancer – with another heart-rending listen. The 86-minute double album confronted mortality on the downtempo Skeleton Of Splendor and Had It All, while also making room for bittersweet, metallic thrills. More Than I Could Chew, Pushing The Tides and Teardrinker remain vital components of their live set with good reason, and the country twang of The Beast was a powerful final bow from Brent Hinds.

5. Emperor Of Sand (2017)

Believe us when we say that we have no beef with Mastodon’s output over the last decade – it’s just a measure of how off-the-scale the albums they made in the 2000s were. Emperor Of Sand was a fantastic meld of their older, more progressive work with the contemporary sheen of The Hunter and Once More ’Round The Sun. The huge metallic riff that drive Steambreather, the QOTSA-style rock hooks that lift lead single Show Yourself and the psychedelic freak-outs in Scorpion Breath all congeal into a massively satisfying whole.

4. Remission (2002)

In a career with some heavy ones, this is the really heavy one. Mastodon’s debut still sounds as extreme, cutting edge and visceral as it did back in 2002.Where Strides The Behemoth is a 100-hand slap of a song that finds all manner of new ways to sonically destroy you, Trampled Under Hoof is as close to classic death metal as they have ever been, and, in March Of The Fire Ants and Mother Puncher, they served up two stone-cold classics.

3. Blood Mountain (2006)

If any other metal band released an album as good as Blood Mountain, it would be considered their masterpiece. Like the landscape they’re singing about, Blood Mountain feels treacherous, earthy, dangerous and ascending all at once. Josh Homme’s guest vocals on Colony Of Birchmen cut through you like biting wind, Crystal Skull’s rolling riff evokes the feeling of scrabbling up uneven rocks and the manic Circle Of Cysquatch is like being pursued through thick woodland by some unholy beast. Altogether, it makes for one of modern metal’s most exciting records.

2. Crack The Skye (2009)

If any album represents Peak Mastodon in terms of musical and lyrical complexity, it’s Crack The Skye. Their fourth album works best as one singular piece, but if you want an idea of why it’s considered such a landmark, then heading straight for the magnificent, 13-minute The Last Baron should give you some idea. The fact that the band somehow managed to bury such high-falutin’ concepts amidst their then-most accessible album to date remains testament to just how insanely talented they are as songwriters.

1. Leviathan (2004)

This was the point where it became apparent: Mastodon were more than just another sludge metal band content to churn out filthy riffs to clubs of sweaty fans until the end of time. Leviathan features all the elements that would come to define them. Iron Tusk and I Am Ahab are as technical as they are savage. There’s the conceptual narrative, which would become a staple of the band’s arsenal: you can practically feel yourself in Captain Ahab’s boots as Seabeast crashes around you. And the anthemic Blood And Thunder, featuring Neil Fallon of Clutch, may well be their defining song.

Marrow Deep is out on August 28 via Loma Vista.

Today marks exactly one year since the world lost Ozzy Osbourne. The Black Sabbath legend and Prince of Darkness died on July 22, 2025 at the age of 76, just seventeen days after taking his final bow at the Back to the Beginning farewell concert in Birmingham. Now, on the first anniversary of his passing, Sharon Osbourne has revealed exactly how Ozzy himself wanted to be remembered — and it’s the most Ozzy answer imaginable: “yank up the music really loud, as loud as you can get it” — and just head bang.

STREAM THE METAL BREAKDOWN DAILY NOW:

One year without the Prince of Darkness — and host Scott Penfold is turning it up loud on today’s Metal Breakdown Daily. Scott breaks down Sharon’s emotional tribute, Birmingham’s city-wide Ozzy Day celebration, and the legacy project that has the fanbase divided. Download the free Loaded Radio App on Apple iOS and Google Play and stream the broadcast now.

Sharon Remembers The Man Behind The Prince Of Darkness

Speaking to the BBC from Ozzy’s hometown of Birmingham this morning, Sharon — who was married to the singer for 43 years — painted a picture of her late husband that had nothing to do with bats, darkness, or rock and roll infamy. What she wants the world to remember is how funny he was.

She described Ozzy as completely authentic, a man who never tried to be anything other than exactly what he was, and someone who would tell you the truth about everything, so you always knew where you stood with him. Even the couple’s fiercest fights, she recalled, tended to collapse into laughter, because Ozzy would inevitably blurt out something so ridiculous that neither of them could stay angry.

And her guidance for fans wanting to honor him today came straight from the man himself. According to Sharon, Ozzy told her that whenever people wanted to remember him, they should simply turn the music up as loud as it goes and headbang. No candles, no moments of silence — maximum volume. It’s a fitting final instruction from the man who spent nearly six decades making the loudest music on Earth.

Recommended – Ranking the 13 Ozzy Osbourne Solo Songs That Built a Heavy Metal Throne

Birmingham Declares Ozzy Day For Its Most Metal Son

Ozzy’s hometown is taking that instruction seriously. Birmingham is celebrating Ozzy Day today, a city-wide remembrance co-organized by Birmingham City Council and Central BID featuring live music, film screenings, and exclusive merchandise.

The Bostin’ Brass Band — the same ensemble that performed Black Sabbath songs in front of Ozzy’s funeral procession as it rolled through Birmingham last July — has returned for multiple performances throughout the day, while the City of Birmingham Symphony Orchestra is performing at the Bullring shopping centre in the heart of the city. At Birmingham New Street station, fans can grab free Polaroid photos with Ozzy The Bull, the beloved 33-foot mechanical bull sculpture named after the singer in a 2022 public poll, now decked out to resemble its namesake.

Meanwhile, the free Working Class Hero exhibit at Birmingham Museum & Art Gallery continues to draw fans from around the world — and earlier this month it added its most significant artifact yet: the actual throne Ozzy performed from at Black Sabbath’s historic Back to the Beginning farewell show at Villa Park on July 5, 2025, which drew over five million livestream viewers for the original lineup’s final performance together.

Also – Black Sabbath’s Original 4: All 8 Albums Ranked

A Year Of Tributes, Triumphs, And One Controversy

The twelve months since Ozzy’s passing have seen an outpouring of tributes unlike anything heavy music has witnessed. Within weeks of his death, Wacken Open Air honored him with an emotional drone show spelling out a message of love in the night sky, and rock royalty united at the 2025 MTV VMAs as Steven Tyler, Joe Perry, Nuno Bettencourt, and Yungblud tore through his greatest hits. In February, Sharon and daughter Kelly accepted a BRIT Awards Lifetime Achievement honor on his behalf.

Not every legacy project has landed smoothly. Sharon and son Jack are currently developing an AI avatar of Ozzy designed to converse, move, and respond the way he did in life — a project that has split the fanbase, with some fans branding it a cash grab. Sharon has stood firm, pointing out that Ozzy repeatedly asked her how long he’d be remembered after he was gone. In her mind, the avatar answers that question.

Ozzy died following a heart attack after years of health battles, primarily Parkinson’s disease and complications from spinal surgeries following a 2018 fall at home. In his posthumously published memoir, Last Rites, he revealed that an infection from his final surgery left him with a heart arrhythmia and a faulty heart valve.

One year on, the verdict is in: the Prince of Darkness has never been more present. Turn it up loud today. As loud as you can get it.

Check This Out – THE MADMAN UNFILTERED: 13 Facts About Ozzy Osbourne’s Attempted Murder, The Bat, and The Alamo

TL;DR

• Today (July 22, 2026) marks one year since Ozzy Osbourne died at age 76
• Sharon Osbourne told the BBC that Ozzy wanted fans to remember him by cranking music as loud as possible and headbanging
• Sharon remembered Ozzy as authentic, honest, and hilarious — even their worst arguments ended in laughter
• Birmingham is celebrating Ozzy Day with performances by the Bostin’ Brass Band and the City of Birmingham Symphony Orchestra, exclusive merch, and photos with the Ozzy The Bull sculpture
• The Working Class Hero museum exhibit recently added the throne from Ozzy’s final show, Back to the Beginning
• Sharon and Jack Osbourne are developing a controversial AI Ozzy avatar despite cash-grab accusations

FAQ

One year gone and the Madman’s still the loudest presence in metal — that’s a legacy. How are you remembering Ozzy today? Drop your favorite Ozzy memory in the comments, and follow Loaded Radio for daily rock and metal news.

The post Sharon Osbourne Shares Ozzy’s Own Instructions For Anyone Who Misses Him, One Year After His Death appeared first on Loaded Radio.