Black Sabbath fans shocked as A-list actor joins them in mosh pit as Ozzy Osbourne performs for the final time
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BLACK Sabbath fans were shocked as an A-list actor joined them in the mosh pit as Ozzy Osbourne performed for the final time.
The legendary rocker reunited with his band mates at Villa Park in Birmingham on Saturday night, sitting on a bat throne for the historic gig.
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Black Sabbath fans were shocked as an A-list actor joined them in the mosh pit as Ozzy Osbourne performed for the final time
Credit: SupirPete2
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Jason is best known for playing Aquaman and his role in Game of Thrones
Credit: Getty
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Ozzy Osbourne performed with Black Sabbath for the final time on Saturday night
Called Back To The Beginning, it is frontman and rock veteran Ozzy's last time performing on stage amid his worsening diagnosis of Parkinson's disease.
A number of other legendary bands were on the bill, including Metallic and Slayer, but there was also some serious star power in the crowd.
Fans in the mosh pit at the front of the stadium got a surprise when Aquaman and Game of Thrones star Jason Momoa hopped the barrier and joined them.
A video from one audience member saw the 45-year-old actor near the stage during Pantera's set before heading into the crowd and start to make his way back through the mosh pit.
As the fans realised who it was, he was soon surrounded and fist bumping everyone, before the throng started to jump around him.
The camera then panned back to the stage before returning to the pit, with crowd going around in circles, making it difficult to see if Jason had made it out in one piece or not.
Another fan captured the moment Jason was seen on the big screen jumping around among the crowd.
They captioned it: "Jason Mamoa a real metalhead! Walked into the center of the pit to mosh with the crowd."
Ozzy, 76, has vowed it will be his final performance due to his deteriorating health. He went public with his Parkinson's diagnosis in 2020.
Back To The Beginning has also featured a mega line-up of fellow rock stars, performing their own sets and as a super-group, and all the profits made will be going to charity.
Ozzy Osbourne takes to stage for final time with Black Sabbath band mates in front of delighted rock fans
The money will be shared equally between Cure Parkinson's, Birmingham Children's Hospital and Acorn Children's Hospice.
Metallica and Slayer were on the line-up for main sets as they celebrated Ozzy's remarkable legacy.
Pantera, Gojira, Alice In Chains, Halestorm, Lamb Of God, Anthrax, and Mastodon also played at the show.
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Metro
an hour ago
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Black Sabbath final show sparks backlash after 'scumbag' musician's appearance
Black Sabbath's farewell show was an emotional one for the band and fans alike but it has been tainted for some by one musician's inclusion. Various messages of thanks for the band were played on the screen throughout the gig, which saw the likes of Metallica and Slayer take the stage. One stood out for the wrong reasons for some fans as Marilyn Manson, 53, came on screen to speak about his love for Ozzy Osbourne and the band. 'It is a great honour to be here via this video, and I'd like to say congratulations, and I love you very much Ozzy,' he said in a pre-recorded message. Since 2021, there have been a slew of sexual abuse allegations levelled at Manson, real name Brian Warner. He has denied everything. 'Eurgh Marilyn Manson making an appearance on the sabbath stream,' wrote TrueBlueWhoDat on X. 'F**k that guy he's a piece of s**t.' 'ew marilyn manson go away,' added ThatMetalNessie as fanofwolvesetc said: 'Marilyn Manson on the black sabbath stream f**k off.' Ruemorgue blasted: 'Marilyn Manson speaking at the Black Sabbath farewell concert? Phil Anselmo performing? They really brought all the scumbags together.' Phil Anselmo, frontman for Pantera, previously shouted 'white power' while on stage in 2016 and did a Nazi salute, for which he later apologised. Manson's accusers include Evan Rachel Wood, who in February 2021 alleged he had abused her 'for years' while in a relationship. She became involved with him when she was 18 and he was 38 and said he 'essentially raped her' on camera while filming a music video. The Westworld star released her documentary Phoenix Rising in 2022, stating that the incident was 'traumatising' and that she 'did not feel safe'. 'I felt disgusting and like I had done something shameful, and I could tell that the crew was very uncomfortable and nobody knew what to do,' she alleged. 'I was coerced into a commercial sex act under false pretences. That's when the first crime was committed against me and I was essentially raped on camera.' His lawyer called it an 'imaginative retelling' of the making of the Heart-Shaped Glasses music video and denied the accusation. Manson's own defamation lawsuit against Wood was thrown out of court, with the Disposable Teens singer paying her almost $327,000 (£238,303) in attorney fees. Other women have also accused Manson of abuse, including Game of Thrones actress Esme Bianco who filed aginst him on allegations of rape and sexual battery. An out-of-court settlement was reportedly reached 'in order to move on with her life and career', according to her lawyer. Another 2021 lawsuit, in which his anonymous ex-girlfriend claimed he raped her and threatened to kill her, was settled a week before the trial was due to start. He has previously stated his relationships 'have always been entirely consensual', and called the accusations 'horrible distortions of reality'. While Manson continues to deny the allegations, the Beautiful People singer recently had his Brighton show cancelled after protests. More Trending Brighton Pavilion MP Sian Berry wrote an open letter to Brighton and Hove City Council last month, calling for the show to be axed. Co-signed by various groups, it read: 'Many survivors in Brighton and Hove, and organisations supporting them, will have serious concerns about this booking and its wider impact on other people visiting the city centre, local residents and the wider community.' His shows in Bournemouth, Cardiff, Nottingham, Manchester, and London are still planned to go ahead. Metro has reached out to Manson and Black Sabbath's teams for comment. MORE: Ozzy Osbourne's health issues and eerie life expectancy prediction ahead of final performance MORE: Rock star admits he purchased Ozzy Osbourne's DNA for $450 MORE: Iconic singer pulls out of final Black Sabbath show after scheduling conflict
Daily Mail
an hour ago
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Kelly Osbourne is engaged! Ozzy Osbourne's daughter is shocked as her boyfriend Sid Wilson gets down on one knee backstage at her rockstar dad's final gig
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Black Sabbath and Ozzy Osbourne: Back to the Beginning review – all-star farewell to the gods of metal is epic and emotional
Fireworks burst over Villa Park's pitch, Black Sabbath wave goodbye, and the inventors of metal leave the stage for the final time. It has not been an epic show – just War Pigs, NIB, Iron Man and Paranoid – but is the farewell this extraordinary band deserve, with an undercard of stadium-fillers and festival headliners come to pay tribute. The returning Bill Ward adds the swing other Sabbath drummers have never managed, Tony Iommi churns out those monstrous riffs, Geezer Butler flits around them on bass, and Ozzy Osbourne … is Ozzy Osbourne, a baffled and discomfited force of nature. At a packed Villa Park, 40,000 metalheads – plus a peak of 5.8m more on the accompanying livestream – have seen their dreams come true in what is basically metal's Live Aid, right down to the revolving stage. They have been, as many from the stage remind us, part of history. All of Birmingham has draped itself in black for the final appearance of its prodigal sons. 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Certainly, Ozzy dominates proceedings before even stepping on to the stage, in a way that leaves a slightly sour aftertaste: Ticketmaster sends punters reminders before the gig about the Ozzy Osbourne show, not the Black Sabbath show. Even the Test Match Special team, across at Edgbaston, are talking about it: there's an Ozzy standup cutout surrounded by black balloons in his hotel lobby, notes former England skipper Michael Vaughan. In truth, Sabbath's relationship with Birmingham has not been so close as both sides would like to pretend. One fan site lists all known gigs, and there were plenty of tours during which the band didn't visit their home town. During their 1970s heyday, especially, they were too busy touring America incessantly to pay more than cursory attention to the UK. It's entirely possible that more people from Cleveland or Detroit or Pittsburgh than actual Brummies have seen Sabbath live. Perhaps those years across the Atlantic also account for the composition of the bill, which is heavily weighted in favour of the US – it might have been nice to see some of their West Midlands descendants on the bill, and while KK Downing is there, his presence perhaps precludes the attendance of his former band Judas Priest, with whom relations are fraught. Nevertheless, the bill comprises a list of hard rock superstars, some of which raise questions all of their own: will Guns N' Roses, even this new, professional iteration, be able to manage a seven-minute changeover and stick to a 15-minute set? After a greeting from master of ceremonies, Hollywood actor Jason Momoa – a fitful and baffling presence through the day – Mastodon begin proceedings, in front of a stadium already nearly full by 1pm. Giant beach balls in Villa's claret and blue and Ozzy emblazoned on them bounce around the front of the crowd, as the breeze flicks the sound back and forth. To be fair, though, you wouldn't realise they had recently shed their lead singer/guitarist and replaced him with an expert YouTube shredder. And like the bands that follow them, they offer up a Sabbath cover in homage. Rival Sons' cleaner, bluesier riffs are better suited to the booming stadium sound than Mastodon's technical grinding. How Anthrax were must remain a mystery to me: sets are so short (around 15 minutes), turnarounds so quick and bar queues so immense that those who try to get a drink at the end of one set are sure to miss the whole of the next. Fronting Halestorm – who don't cut through – Lzzy Hale asks where all her 'women of heavy metal are', and maybe a twentieth of the crowd raise their hands, but for all the drinking and the testosterone, there is no lairiness or aggression in the air. Even if plastic bottles had been allowed in, no one would be bottled off today. Much of the afternoon, though, passes in a blur of growled vocals and downtuned guitars. Sets are too short to build momentum, though the inverse of that is that even the most metal-agnostic get no chance to be bored: no one has the time to be self-indulgent. And as the beer kicks in, the crowd liven up: the first circle pits appear during Lamb of God's set, 90 minutes in, and they get the first true roar for covering Children of the Grave, Sabbath's 1971 classic, though it doesn't benefit from Bill Ward's shuffles being replaced with double kick-drums. The first of the day's two all-star bands is fronted by Hale but the day is so focused on Ozzy that the big shout-out goes to his former guitarist Jake E Lee. It's a set of covers, with rotating singers and players, and A Shot in the Dark is the first sighting of the hair metal side of Osbourne's career, before a thrillingly brutal Sweet Leaf. Yungblud is a change of pace and generation, opening with Changes, the piano waltz from the fourth Sabbath record. He's sincere, passionate and wins a huge response from a crowd who might not be familiar with him, compelling a whole-stadium singalong. One song and he's gone, having stolen the first third of the show. As the day passes, Alice in Chains are sluggish, but Gojira impressively pulverising, playing with clarity and directness. Their intricate lead guitar lines somehow serve the PA and the breeze, and for Mea Culpa – accompanied by a soprano – the circle pits reopen. They seem charmingly nervous about introducing their Sabbath cover, Under the Sun, but they shouldn't be. They kill it. They're followed by a three-drummer superstar drum-off, inserted into a cursory cover of the mighty Symptom of the Universe, rearranged for multiple drum solos. No matter that Momoa insists drums are the heartbeat of heavy metal – drum solos are actually its blocked U-bend. That's followed by Billy Corgan singing Breaking the Law accompanied by local hero KK Downing and Tom Morello, at which point it's starting to feel like the metal Royal Variety show: only here would Corgan give way to Sammy Hagar, who kills the momentum stone dead. The variety show air is not quelled by Steven Tyler and Ronnie Wood assembling for Train Kept a Rollin', before Walk This Way gets the biggest cheer of the day so far, immediately surpassed when the ensemble launch into Whole Lotta Love. The wholly tribal nature of the event is illustrated when Pantera take the stage and Cowboys From Hell gets tens of thousands singing along. Thankfully, Phil Anselmo chooses not to offer any of his favourite white power slogans as accompaniment. Tool, too, are greeted like heroes, though their prog-metal is baffling to the uninitiated. One can see the stadium-readiness when the very biggest turns arrive. After Slayer – which is like listening to road works, take that as compliment or not – Guns N' Roses patrol the stage as if they own it, opening with Sabbath's Never Say Die, with Axl Rose on surprisingly good voice. They play Sabbath Bloody Sabbath, too, and only throw in a couple of their own big hits, Paradise City and Welcome to the Jungle. Metallica are fantastic – taut and aggressive from their opening cover of Hole in the Sky. It helps, too, that in For Whom the Bell Tolls they have half a dozen of metal's greatest riffs in one song. And then, at last it's Ozzy. He arrived on stage in a black throne, from which he does not stir. During Coming Home, his struggle with pitch is both painful and moving: he seems on the brink of tears as the crowd carry him home, but brings everything back with a triumphant Crazy Train. There's a clear distinction between Ozzy's set and Sabbath's set. Ozzy's, of course, is based largely on his 80s solo hits. Mr Crowley, which opens with ominous organ, is ludicrous in its cod-satanism, but equally marvellous. It is perhaps daring for Ozzy to play Suicide Solution – the song that was seen as promoting death among young metalheads – but in this crowd it's a celebration rather than a commiseration. Sabbath, by contrast, draw solely on their first two albums. Fortunately, for those who wish to hear more, throughout the show the assembled artists visit the Sabbath catalogue with great frequency and ardour. Nevertheless, none of them have the unique bludgeoning force that the forefathers of heavy music still possess. On the big screens you can see Tony Iommi's false fingertips, employed to enable him to play those downtuned chords for the decades since he lost those digits in a factory accident. And the band pay tribute to their surroundings: to close their set, Geezer Butler plays a bass in Villa's claret and blue colours with the club motto printed on the body. It's a very Birmingham way of doing things on what has been a very international day. It's affecting to see how united the crowd are behind Ozzy, with plenty of wiped tears during his solo set. But in the end, the night, rightly, belongs not just to him, but to four Brummies who changed rock music for ever.
