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Rock

Sharon Osbourne Says Ozzfest ‘Absolutely’ Returning in 2027 After Nearly Decade-Long Hiatus

Ozzy Osbourne's manager and widow told the MIDEM 2026 conference that before he died the rocker wondered if the festival would work without him.

Ozzy Osbourne of Black Sabbath performs at Ozzfest 2016 at San Manuel Amphitheater on September 24, 2016 in Los Angeles, California.

Ozzy Osbourne of Black Sabbath performs at Ozzfest 2016 at San Manuel Amphitheater on September 24, 2016 in Los Angeles, California.

Frazer Harrison/Getty Images for ABA

Ozzy Osbourne‘s memory has been kept alive with a series of projects since the heavy metal icon’s death at 76 last July. But if manager and widow Sharon Osbourne has her way — and she almost always does — the spirit of Ozz will rise again next year with the long-awaited return of Ozzfest.

During a chat at the Palais des Festivals in Cannes, France this week as part of the MIDEM 2026 conference, Sharon again hinted that she is still planning to revive Ozzfest as a touring festival next year. “Yes, absolutely. Yeah, we’re gonna do it,” Osbourne said during a conversation with producer/manager Andy Copping (Download Festival).


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“Well, the last one we did was 2018. It was just a month before Ozzy got sick, and that was at the Forum in L.A. And there was no plans to stop it,” Sharon Osbourne said of what was the seeming swan song of the Ozz-topped hard rock festival that was held nearly annually from 1996 through 2018. “We were still gonna do it, but Ozzy couldn’t. And Ozzy and I would talk about it, and he’d say, ‘Do you think Ozzfest would work without me?’ And I’m, like, ‘Yeah, it’s a brand. It will work without you.’ And he said, ‘We should do it.'”

Last month, Sharon, 73, told Billboard that she’s been “talking to Live Nation about bringing [Ozzfest] back recently. It was something Ozzy was very passionate about: giving young talent a stage in front of a lot of people. We really started metal festivals in this country. It was [replicated but] never done with the spirit of what ours was, because ours was a place for new talent. It was like summer camp for kids.”

And while Ozzfest was always hard rock/heavy metal/hardcore-focused, Osbourne said she’d like to “mix up the genres” the next time out.

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In addition to Ozzy and Black Sabbath, over the years Ozzfest hosted everyone from Slayer, Danzig and Biohazard in its first year to Pantera, Fear Factory, Foo Fighters, Soulfly, Tool, Megadeth, Limp Bizkit, Motorhead, System of a Down, Rob Zombie, Deftones, Primus, Godsmack, Slipknot, Incubus, P.O.D., Papa Roach, Mudvayne, Linkin Park, Bad Religion, Drowning Pool, Kittie, Otep and many more.

Rock and Roll Hall of Famer Osbourne died on July 22 of cardiac arrest and coronary artery disease, just weeks after his final performance of solo hits and Sabbath classics at his final “Back to the Beginning” all-star show on July 5 in his native Birmingham, England.

This article was first published by Billboard U.S.

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SZA with the Grammys for Record of the Year and Best Melodic Rap Performance for “luther" at the 68th GRAMMY Awards held at the Crypto.com Arena on February 01, 2026 in Los Angeles, California.
Michael Buckner/Billboard

SZA with the Grammys for Record of the Year and Best Melodic Rap Performance for “luther" at the 68th GRAMMY Awards held at the Crypto.com Arena on February 01, 2026 in Los Angeles, California.

Rb Hip Hop

SZA Feels Like She’s ‘At War Because of AI,’ Slams ‘Weird, Stereotypical Struggle Music’ Being Generated By Artificial Intelligence

The singer tackled the topic on "Ghost in the Machine" from her 2022 chart-topping "SOS" album.

SZA has been raging against what she dubbed the “Ghost in the Machine” on her Billboard 200 No. 1 album SOS for years. In her case the “ghost” she was referring to on that song from her 2022 breakthrough LP was artificial intelligence, which she took on by singing, “Let’s talk about AI, robot got more heart than I/ Robot got future, I don’t/ Robot got sleep but I don’t power down.”

Now, in an interview with i.d., the Grammy-winning singer is sharpening her knives to a high sheen in what she tagged as a potentially existential crisis for Black artists in the face of the rapidly expanding use of artificial intelligence in music.

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