CONGRATS!!! That viral performance of Black Sabbath’s “Changes” at last summer’s Back to the Beginning concert just won a Grammy for Best Rock Performance!

Yungblud 'Lit a Little Candle' with Sharon Osbourne for Ozzy Ahead of the 2026 Grammys

It was a tearful moment onstage as Yungblud paid tribute to Ozzy onstage with Frank Bello, Nuno Bettencourt, Adam Wakeman and Sharon Osbourne.

On February 1, 2026, at the 68th Annual Grammy Awards Premiere Ceremony in Los Angeles, the rock world witnessed a moment of pure, raw emotion. Yungblud—real name Dominic Harrison—along with his powerhouse collaborators Nuno Bettencourt (Extreme), Frank Bello (Anthrax), Adam Wakeman (Ozzy’s longtime keyboardist), and Sleep Token’s II on drums, took home the Grammy for Best Rock Performance for their live rendition of Black Sabbath’s timeless ballad “Changes (Live From Villa Park / Back To The Beginning).”

The win wasn’t just an award; it was a cathartic celebration of legacy, loss, and unbreakable musical bonds. The performance, captured during Ozzy Osbourne’s final concert on July 5, 2025, at Villa Park in Birmingham, England, had already gone mega-viral, amassing millions of views and sparking endless tears across social media. Now, Grammy gold has immortalized it. As Yungblud clutched the trophy, tears streaming, he brought Sharon Osbourne onstage for an embrace that spoke volumes—grief, gratitude, and the enduring power of rock ‘n’ roll.

Yungblud joined by emotional Sharon Osbourne after winning Grammy for Best Rock Performance - Yahoo News UK

This wasn’t a typical Grammy moment. It was a bridge between generations: a 27-year-old British punk-rock firebrand honoring the Prince of Darkness, who had passed away at 76 just weeks after that fateful Birmingham night. Ozzy’s death in late July 2025 from complications related to Parkinson’s disease sent shockwaves through the music world. The “Back to the Beginning” concert—billed as Black Sabbath and Ozzy’s farewell—was already legendary. But Yungblud’s soul-stirring take on “Changes,” a piano-driven 1972 track from Black Sabbath Vol. 4 that Ozzy once called one of his most personal, elevated it to something transcendent.

Picture the scene: Villa Park, home to Aston Villa FC and a spiritual ground zero for Birmingham’s heavy metal birthplace, packed with over 40,000 fans. The sun sets, the air thick with anticipation and melancholy. Black Sabbath’s core—Tony Iommi, Geezer Butler, Bill Ward—had reunited for what many knew might be their last stand. Ozzy, frail but defiant, delivered classics with that unmistakable rasp. Then came the surprise: Yungblud steps out, backed by a supergroup of metal titans. No pyrotechnics, no chaos—just vulnerability.

Yungblud’s voice cracked with emotion from the first notes. The arrangement stayed faithful yet amplified: Adam Wakeman’s haunting keys, Nuno’s delicate guitar swells, Frank Bello’s steady bass pulse, II’s subtle, heartbeat-like drums. Yungblud didn’t mimic Ozzy; he channeled him—raw, heartfelt, almost conversational. Lines like “I feel unhappy, I feel so sad / I lost the best friend that I ever had” hit harder in the wake of Ozzy’s impending farewell. Fans reported goosebumps, open weeping, phones held high in silent tribute. Social media exploded: “This is the best cover I’ve ever heard,” one commenter wrote. “He nailed the rawness Ozzy put into it.” Another: “Yungblud just became a legend tonight.”

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Proceeds from the live single release supported Cure Parkinson’s, Birmingham Children’s Hospital, and Acorns Children’s Hospice—charities close to the Osbourne family. The recording, announced shortly after the show and featured in the upcoming concert film Back To The Beginning: Ozzy’s Final Bow, captured lightning in a bottle.

Fast-forward to the Grammys. Nominated against heavy hitters—Amyl and the Sniffers’ “U Should Not Be Doing That,” Hayley Williams’ “Mirtazapine,” Linkin Park’s “The Emptiness Machine,” Turnstile’s “Never Enough”—the win felt destined. In his acceptance speech, Yungblud was visibly shaken. “You do not expect to be up here and then you fucking are so it’s wild,” he said, voice breaking. He dedicated it to Ozzy: “To grow up loving an idol that helps you figure out your identity, not only as a musician but also as a man, is something that I’m truly grateful for.”

He continued: “But then to get to know them and form a relationship with them, honor them at their final show, and receive this because of it, is something that I, and I think we’re all, are finding so strange to comprehend.” Bringing Sharon onstage, he added, “God bless fucking Ozzy Osbourne.” The room erupted. Nuno Bettencourt, in interviews, spoke of rock’s resilience: “Don’t fear AI—human emotion like this wins.” Yungblud later revealed he lit a candle with Sharon the night before, whispering, “It’s all for Ozzy tonight.”

Yungblud’s journey to this moment is a rock ‘n’ roll fairy tale. Born in Doncaster, England, in 1998, Dominic Harrison grew up idolizing Ozzy, Black Sabbath, and the misfits of rock. His stage name “Yungblud” (stylized all caps) reflects his outsider ethos—punk attitude, pop hooks, unapologetic vulnerability. Debuting in 2018 with “21st Century Liability,” he became the voice of Gen Z angst: songs about mental health, identity, rebellion. Hits like “I Think I’m OKAY” (with Machine Gun Kelly and Travis Barker), “parents,” and “cotton candy” built a massive, devoted fanbase.

But his connection to Ozzy ran deeper. They met backstage years ago—Yungblud gifted Ozzy a handmade cross from a friend. Ozzy, ever the mentor to young rebels, took him under his wing. Yungblud called Ozzy “the greatest of all time,” crediting him for teaching authenticity. Post-Ozzy’s passing, Yungblud performed “Changes” at Lollapalooza India and elsewhere, keeping the flame alive.

“Changes” itself is no ordinary track. Written by Ozzy and Geezer Butler during Sabbath’s creative peak, it’s a melancholic piano ballad about loss and reflection—rare vulnerability from the band that invented heavy metal. Ozzy’s original 1972 version is sparse, haunting; Yungblud’s live take added urgency, a modern edge without losing soul. Critics hailed it: “One of the best Ozzy covers ever,” “Goosebumps from start to finish.” The Grammy win validates that crossover power—punk meets metal, youth honors legend.

The broader impact? This victory injects life into rock at the Grammys, often criticized for pop dominance. Yungblud’s win, shared with metal veterans, bridges eras. Fans flooded social media: “OZZY FOREVER!!!!” “So deserved.” Some debated nominees, but most celebrated the emotion.

As the concert film nears release and Yungblud’s career surges—first Grammy, new music brewing—the moment endures. It reminds us: music heals, connects, outlives us. In Birmingham’s summer night, a young rebel sang for his hero. At the Grammys, that song won gold. Rock isn’t dead—it’s alive, tear-streaked, triumphant.