Live Review Back to the Beginning – The Heavy Metal Reckoning at Villa Park

Forget polished reunion tours and boy bands at retirement age with their nostalgia-soaked karaoke. Back To The Beginning wasn’t a gig—it was a seismic upheaval, a riff-forged reckoning in the birthplace of heavy metal. On Saturday, July 5, 2025, Villa Park didn’t just host a concert; it unleashed a cataclysm. Birmingham, the crucible where Black Sabbath hammered out the genre’s first molten notes, became ground zero for the gig of the century. No makeup, no fake encores, just pure, unfiltered metal—curated by the iron will of Sharon Osbourne herself.

This was Back to the Beginning: a revolving stage of titans, supergroups forged from the genre’s elite, and a crowd that shook the earth. From Mastodon’s opening war cry to Sabbath’s final, confetti-drenched bow, here’s how it went down.

Mastodon – The Gates of Valhalla Swing Open

Smoke curled into the Birmingham sky as Mastodon stormed the stage, their opening wail slicing through the air like a battle axe. “Black Tongue” erupted, guitars snarling in stereo, a duel of sonic berserkers. Then came “Blood and Thunder”, igniting the crowd into a headbanging frenzy—fists hammering the air like tribal war drums. When they unleashed Black Sabbath’s “Supernaut”, the stadium roared in unified delirium. A four-drummer solo, led by Brann Dailor’s gritty, reverent vocals, shattered jaws and set the tone: this was no ordinary day. The crowd, loose and loud, surged like a steam train derailed.

Rival Sons – Soul Fire and Sabbath Swagger

No time to catch your breath. Rival Sons swept in, their barefoot frontman radiating cool as they lit the fuse on “Do Your Worst”—pure rock ‘n’ roll swagger. Their cover of Sabbath’s “Electric Funeral” was a revelation, dripping with bluesy menace and soulful grit, breathing new life into the doom classic. “Secret” followed, vibing with the day’s electric pulse—raw, alive, and undeniable. Rival Sons weren’t just playing; they were channeling the spirit of the Brummie pubs where metal was born.

Anthrax – Thrash Meets Devotion

Draped in custom “Sabbath Bloody Anthrax” shirts with “666” emblazoned on the back, Anthrax hit like a nuclear warhead. “Indians” was a war cry, guitarists stomping and leaping with every blistering riff. Mid-set, Scott Ian roared to the crowd:

“We’re all here to celebrate Black Sabbath—not to say goodbye, but to say THANK YOU!”

Their explosive take on “Into the Void” followed, the crowd chanting in unison, fists pumping to the grinding pulse. Anthrax didn’t just play—they paid homage with thrash-fueled reverence.

Halestorm – Volcanic Power, Lzzy’s Reign

Lzzy Hale strode out, arms raised, horns to the heavens, her voice a battle cry:

“Can you feel it? The greatest moment in rock ‘n’ roll HISTORY!”

Halestorm detonated with “Love Bites (So Do I)”, Lzzy’s vocals a masterclass in ferocity. A new track, “Rain Your Blood on Me”, burned with dark, theatrical flair. Then came “Perry Mason”, a Sabbath cover so commanding it felt like a new cornerstone in their live legacy. The crowd, even the diehard Sabbath faithful, stood stunned—Halestorm wasn’t just tribute; they were triumph.

Lamb of God – The Furnace of Fury

No intro. No mercy. Lamb of God tore into “Laid to Rest”, conjuring a feral circle pit that churned like a maelstrom. Randy Blythe grinned wildly:

“Birmingham, the birthplace of metal—we’re here to THROW DOWN!”

“Redneck” detonated like a riot, followed by a full-metal cover of “Children of the Grave”, feral and reverent, with Randy conducting the crowd like a demented preacher. When he ran out of merch to toss, he hurled his sneaker into the sea of metalheads. Pure chaos. Pure Lamb of God.

Tom Morello’s All-Stars Part 1 – The Church of Sabbath

David Draiman took the stage, bellowing:

“All hail Black Sabbath! All hail Ozzy Osbourne!”

Supergroup A was a myth made flesh: Draiman and Lzzy Hale trading vocal fire, Scott Ian and Nuno Bettencourt on guitars, David Ellefson on bass, Mike Bordin on drums, and Adam Wakeman weaving keys like a sorcerer. Their set was a sermon:

• “The Ultimate Sin” – Lzzy’s soaring grit stole the show.
• “Shot in the Dark” – Draiman rode the hooks like a freight train.
• “Sweet Leaf” – Sabbath’s classic, distorted to perfection.
• “Believer” – A chaotic medley with Ugly Kid Joe’s frontman, Anthrax guitarists, and Sleep Token’s drummer—genre fusion on a cosmic scale.
• “Changes” – Yungblud led a heart-wrenching rendition, the crowd singing the chorus in unison, tears streaming, goosebumps rising.
• “Mr. Crowley” – Jack Black appeared on the big screen in a blue tasseled “OZZY” jacket, joined by Rebel Ian and Roman Morello for a flamboyant, ridiculous, and utterly reverent tribute.

Alice in Chains – Shadows and Soul

The haunting bass of “Man in the Box” slithered through the arena as Alice in Chains emerged like phantoms, cloaked in Sabbath’s spirit but rooted in grunge. “Would?” was anguished and thunderous, while their cover of “Fairies Wear Boots” turned Sabbath’s psychedelia into a ghostly tale. Their frontman growled:

“It doesn’t matter what’s out there—we’re here for the RIFFS.”

No one argued. Alice in Chains wove darkness and devotion into every note.

Gojira – Precision and Power

Guitars screamed before Gojira even appeared. “Stranded” and “Silvera” hit like tectonic plates colliding, precise yet earth-shattering. Before “Mea Culpa”, a metal-opera fusion with Marina Viotti, their frontman paused, visibly moved, admitting the nerves of honoring Sabbath. Their take on “Under the Sun” was titanium-clad, sculpting doom into something divine. Metalheads melted in awe—Gojira didn’t just play; they summoned gods.

The Drum Apocalypse – Barker, Smith, Carey, & Morello

Four legends. Three kits. One battlefield. Travis Barker, Chad Smith, Danny Carey, and Tom Morello unleashed a drum-and-guitar armageddon. Each snare cracked like lightning, Morello’s guitar a howling banshee. The air trembled. The crowd lost their minds.

Tom Morello’s All-Stars Part 2 – Rock Royalty United

Morello’s second militia was a pantheon: Billy Corgan, KK Downing, Vernon Reid, Sammy Hagar, Nuno Bettencourt, Chad Smith, Papa Emeritus V, and Steven Tyler. Highlights burned bright:

• “Breaking the Law” – Corgan owned the Judas Priest classic.
• “Snowblind” – Morello played with his teeth, revealing a “SABBATH RULES” sign on his guitar; Downing’s Flying V solo scorched.
• “Flying High Again” – Reid, Hagar, Smith, and Nuno sparked electricity.
• “Rock Candy” – Hagar’s Montrose nod, sharpened by Morello and Nuno.
• “Bark at the Moon” – Papa V, Barker, Vernon, and Nuno delivered a theatrical explosion.
• “The Train Kept A-Rollin’” – Andrew Watt, Ronnie Wood, and Steven Tyler revived the classic, Wood casually sliding a solo with a smirk.
• “Walk This Way / Whole Lotta Love” – Smith’s groove kicked it off, Tyler burned, Morello beamed, and Watt shredded. Smith capped it by kicking over his kit in pure rock abandon.

Pantera – Groove Metal Apocalypse

Pantera’s barefoot preacher of pain dedicated their set to Sabbath’s faithful. “Cowboys from Hell” dropped like a sledgehammer, pits erupting, beer flying. “Walk” had the stadium stomping in slow-motion rage, the crowd screaming the chorus like scripture. Jason Momoa, the day’s host, crowd-surfed back to the stage, grinning like a madman. “Planet Caravan” wove a hypnotic spell, bongos and psychedelic solos pulling the crowd into a trance. “Electric Funeral” closed with doom-soaked distortion, a fog of dread and devotion.

Tool – Hypnotic and Harrowing

Maynard James Keenan strolled out in a ‘Not Local’ tee, no fanfare needed. “Forty Six & 2” built like an avalanche, layered and seething. Their cover of “Hand of Doom” sank like a dark anchor, basslines oozing menace. “Ænema” rounded it off, full of fury and fatalism—Tool shaking souls with silence and sound.

Slayer – Total Annihilation

No warning. No mercy. “Disciple” hit like a barbed-wire hurricane. Slayer was venom incarnate, pausing only to thank Sabbath before unleashing:

• “War Ensemble” – a sonic blitzkrieg.
• “Wicked World” – Sabbath, Slayer-style: savage and relentless.
• “South of Heaven” and “Raining Blood” – ten pits erupted instantly around the stadium.
• “Angel of Death” – riffs melting into riffs, a never-ending onslaught.

The cheer was thunderous. Slayer delivered the gut-punch the crowd craved.

Guns N’ Roses – Swagger and Solos

Axl Rose took the piano for “It’s Alright”, tender and soulful, before exploding into “Never Say Die”, the band a wall of sound. “Junior’s Eyes” showcased Izzy and Slash dueling, Slash’s solo scorching. Axl paused:

“Time to raise some spirits, yeah?”

“Sabbath Bloody Sabbath” was pure riff-worship, the crowd a doom cult. Then came the chaos:

“You know where the f*** you are!” Axl screeched, voice wobbling into Muppet territory, as Slash tore into “Welcome to the Jungle”. Axl snake-danced like a dad at a barbecue, but Slash’s solo saved it. “Paradise City” was loud, loose, and a touch cringe—but undeniably GNR. Their drum kit, Sharpie-scribbled with “OZZY RULES,” said it all.

Metallica – The Final Blaze

Tom Morello roared:

“Friends of Ozzy, friends of Sabbath… Metallica!”, a roar from the crowd as he introduced the final band of the night.

“Hole in the Sky” hit with Metallica’s signature muscle, a yellow drum kit and ‘72’ amps glaring. Hetfield and Hammett traded licks like prizefighters. Hetfield’s tribute was raw:

“Without Sabbath, no Metallica. Thank you for giving us purpose.”

The set soared:

• “Creeping Death” – a hurricane.
• “For Whom the Bell Tolls” – fists in the air, heads pistoning.
• “Johnny Blade” – Hammett’s solo a future staple.
• “Battery” – pits spinning like tornados.
• “Master of Puppets” – the crowd screaming “MASTER!” as Hetfield held court.

Ozzy Osbourne – The Prince of Darkness’ Last Stand

The air grew still. A haunting classical overture blasted through Villa Park’s speakers, like a requiem for the end of an era. From beneath the stage, Ozzy Osbourne ascended—enthroned in black leather, skull motifs glinting, arms outstretched like a dark messiah. The crowd’s roar shook the earth, a primal wave of love and reverence for the Prince of Darkness.

“Birmingham! Let me hear you SCREAM!”

“I Don’t Know” exploded, Ozzy’s voice slicing through time—crisp, commanding, defying his 76 years. During the instrumental, he waved his arms, and 20,000 hands moved as one, a sea of devotion swaying to his rhythm. “Mr. Crowley” followed, pure theatre—Ozzy’s eyes wild with fire, flashing devil horns and thumbs-ups, soaking in every chant, every cheer, as if etching the moment into eternity.

He paused, voice cracking with emotion:

“It’s so good to be back… in Villa Park, where it all began.” This is for you, Birmingham—the heartbeat of metal.

“Suicide Solution” roared, raw and relentless, Ozzy surveying the stage like a man possessed. He thanked Tom Morello and Andy Copping for orchestrating this historic night, his gratitude met with deafening cheers. Then came “Mama, I’m Coming Home”—the crowd’s voices rose, arms around strangers, tears streaming as Ozzy’s ballad became a collective farewell. Grown men wept. Strangers embraced. The air crackled with love and loss.

“All aboard!!” he bellowed, and “Crazy Train” ignited the stadium into orbit. Confetti cannons erupted, bathing the crowd in a storm of color. Ozzy sat triumphant, drinking in the chaos, his final ride on the rails a blazing testament to his undying spirit. As the last note faded, he lingered, eyes scanning the sea of faces, knowing this was his last moment on a Birmingham stage. The crowd chanted his name, unwilling to let go.

Black Sabbath – The Gods’ Final Descent

The lights bled red. Air raid sirens pierced the night, a chilling echo of 1970. The Black Sabbath logo rose in towering flames, a monument to the genre they birthed. The originators—Ozzy Osbourne, Tony Iommi, Geezer Butler—stood before their city, their crucible, for one last time. This was no reunion. This was the end of the world.

“War Pigs” opened with surgical ferocity, Iommi’s solos carving through the air like a warlock’s incantations, each note a molten thread to Sabbath’s genesis. Ozzy, eyes blazing, delivered the hymn with primal intensity, his voice a bridge between past and present. Geezer’s bass growled, Bill Ward’s drums thundered—a sonic apocalypse unfolding.

“N.I.B.” slithered next, Geezer’s iconic bassline a serpent coiling through the arena, Ozzy commanding hands to rise like a preacher of doom. The crowd obeyed, a sea of horns piercing the sky. “Iron Man” followed, its riff a sacred text, thousands chanting every syllable. Iommi’s extended outro was a masterclass—each member taking a victory lap in sound, the crowd’s “whoas” shaking Villa Park’s foundations.

Ozzy held the mic, voice heavy with finality:

“This is it, Birmingham. Our last song—ever. You’ve carried us for 55 years. Thank you for EVERYTHING.”

“Paranoid” was the final strike. “Go CRAZY!” Ozzy screamed, and the stadium erupted into pandemonium. Iommi stalked the stage, his solo a defiant roar, the crowd chanting “Oi! Oi!” louder than the amps. Confetti rained like ash from a dying star. Fireworks tore across the Birmingham sky, a blazing requiem for the gods of metal. Ozzy’s final cry—“You’re f***ing BEAUTIFUL!”—echoed as the band took their last bow, silhouettes against the flames.

The silence that followed was deafening. Black Sabbath was gone forever, their final note a sacred wound in metal’s heart.

Etched in Iron

The final note faded. No encores. No more gigs. But Black Sabbath’s legacy? Eternal. On turntables, playlists, and tattooed hearts, they live forever. Back to the Beginning was orchestrated chaos: every band paid homage with a Sabbath or Ozzy cover, from Slayer’s fury to Yungblud’s tears. Birmingham didn’t just host history—it unleashed it.

Horns Up, Horns Down: The Heroes and Hiccups of the Night

Back to the Beginning was a metal Valhalla, but not every riff landed with divine fury. Here’s the rundown on who scorched the stage and who stumbled in the shadow of Sabbath’s legacy.

Horns Up: The Gods of the Night

•  Halestorm: Lzzy Hale was a vocal volcano, erupting with “Love Bites” and a searing “Perry Mason” that redefined Sabbath’s classic. Her command was unchallenged, her energy a lightning bolt through Villa Park.

•  Yungblud: His heart-wrenching “Changes” turned the crowd into a tear-soaked choir, proving raw emotion can outshine even the heaviest riffs. A generational bridge, forged in reverence.

•  Steven Tyler: The eternal showman, Tyler strutted through “Walk This Way / Whole Lotta Love” with ageless swagger, proving Aerosmith’s fire still burns bright.

•  Slayer: Pure, unfiltered chaos. “Raining Blood” and “Angel of Death” unleashed a pit-spinning apocalypse—Slayer didn’t perform; they annihilated.

•  Metallica: The grand masters owned “Master of Puppets” and “Johnny Blade”, their tribute to Sabbath a masterclass in precision and power. No band came closer to the throne.

Horns Down: The Near-Misses

•  Tool: Technically flawless, but “Ænema” and “Hand of Doom” felt like a mood-killer amidst the night’s relentless energy. Too cerebral for the pit’s primal pulse.

•  David Draiman: Intensity in spades during the All-Stars set, but his delivery lacked the charm to match Lzzy’s fire or Yungblud’s heart.

•  Sammy Hagar: Solid pipes on “Rock Candy”, but his presence faded against the night’s larger-than-life icons. Forgettable in a sea of legends.

•  Billy Corgan: His “Breaking the Law” was fierce, but he struggled to connect, lost in the supergroup’s star-studded shuffle.

•  Axl Rose: The GNR frontman’s snake-dance and Muppet-like vocals on “Welcome to the Jungle” leaned cringe, though Slash’s solos carried the set.

The End of an Era, The Start of a Legacy

On July 5, 2025, Villa Park became more than a venue—it became a shrine where Black Sabbath played their final note, leaving metal’s birthplace forever changed. From Mastodon’s primal roar to Ozzy’s tear-soaked farewell, Back to the Beginning was a pilgrimage of riffs, rebellion, and reverence. This was no mere gig; it was the closing of a sacred chapter, etched in iron and fire. Were you there, headbanging through the chaos? What was your defining moment of the night? Drop a comment below and share your story—let’s keep the spirit of Sabbath alive! 

The Full Back To The Beginning Setlist

Opening Acts

Mastodon

• Black Tongue
• Blood and Thunder
• Supernaut (Black Sabbath cover with Mario Duplantier, Danny Carey & Eloy Casagrande)

Rival Sons

• Do Your Worst
• Electric Funeral (Black Sabbath cover)
• Secret

Anthrax

• Indians
• Into the Void (Black Sabbath cover)

Halestorm

• Love Bites (So Do I)
• Rain Your Blood on Me
• Perry Mason (Ozzy Osbourne cover)

Lamb of God

• Laid to Rest
• Redneck
• Children of the Grave (Black Sabbath cover)

Supergroup A

Members: Lzzy Hale, David Draiman, Nuno Bettencourt, Jake E Lee, David Ellefson, Mike Bordin, Adam Wakeman, Scott Ian, Frank Bello, II (Sleep Token), Whitfield Crane, Yungblud, Jack Black

• The Ultimate Sin
• Shot in the Dark
• Sweet Leaf
• Believer
• Changes
• Mr. Crowley (Jack Black & young musicians: Revel Ian, Roman Morello, etc.)

Mid-Show Mayhem

Alice In Chains

• Man in the Box
• Would?
• Fairies Wear Boots (Black Sabbath cover)

Gojira

• Stranded
• Silvera
• Mea Culpa (Ah! Ça ira) (with Marina Viotti)
• Under the Sun (Black Sabbath cover)

Drum Off

• Symptom of the Universe – Chad Smith, Travis Barker, Danny Carey, Tom Morello, Rudy Sarzo, Nuno Bettencourt

Supergroup B

Members: Billy Corgan, Tom Morello, K.K. Downing, Adam Jones, Rudy Sarzo, Danny Carey, Sammy Hagar, Nuno Bettencourt, Adam Wakeman, Chad Smith, Vernon Reid, Jonathan Davis, Papa V Perpetua, Andrew Watt, Steven Tyler, Ronnie Wood, Travis Barker

• Breaking the Law (Judas Priest cover)
• Snowblind (Black Sabbath cover)
• Flying High Again (Ozzy Osbourne cover)
• Rock Candy (Montrose cover)
• Bark at the Moon (Ozzy Osbourne cover)
• The Train Kept A-Rollin’ (Tiny Bradshaw / Aerosmith tradition)
• Walk This Way / Whole Lotta Love (hybrid jam)

Final Acts Before the Legends

Pantera

• Cowboys From Hell
• Walk
• Planet Caravan (Black Sabbath cover)
• Electric Funeral (Black Sabbath cover – live debut)

Tool

• Forty Six & 2
• Hand of Doom (Black Sabbath cover – live debut)
• Ænema

Slayer

• Disciple
• War Ensemble
• Wicked World (Black Sabbath cover – live debut)
• South of Heaven (with reprise of Wicked World)
• Raining Blood
• Angel of Death

Guns N’ Roses

• It’s Alright (Black Sabbath cover – shortened version)
• Never Say Die (Black Sabbath cover – live debut)
• Junior’s Eyes (Black Sabbath cover – live debut)
• Sabbath Bloody Sabbath (Black Sabbath cover – live debut)
• Welcome to the Jungle
• Paradise City (shortened)

Metallica (Introduced by Tom Morello)

• Hole in the Sky (Black Sabbath cover)
• Creeping Death
• For Whom the Bell Tolls
• Johnny Blade (Black Sabbath cover – live debut)
• Battery
• Master of Puppets

Ozzy Osbourne’s Solo Set (Seated on black throne)

• I Don’t Know
• Mr. Crowley
• Suicide Solution (First time live since 2010)
• Mama, I’m Coming Home
• Crazy Train

Black Sabbath’s Final Set

• Sabbra Cadabra (Intro montage)
• War Pigs
• N.I.B.
• Iron Man
• Paranoid

Read More….

Back to the Beginning Review – The Heavy Metal Reckoning at Villa Park @RockNews