Slayer Ignites Back to the Beginning with a Thrash Metal Firestorm
Slayer’s appearance at Back to the Beginning, Ozzy Osbourne’s monumental farewell concert at Villa Park, was one of the night’s most thunderous and unrelenting moments. In a show stacked with legends across the rock and metal spectrum, the thrash titans proved they were still as savage and uncompromising as in their prime.
Opening with “Disciple,” Slayer immediately set the tone for their set. The chugging riff and relentless tempo served as a wake-up call to anyone who might have been lulled into a nostalgic haze earlier in the evening. This was not a gentle tribute; it was an all-out sonic assault.
Tom Araya’s vocals rang out with remarkable clarity and venom, defying the expectations of a man now 64 years old. His iconic delivery—equal parts bark and controlled scream—reminded fans why his voice remains one of the most distinctive in metal history.
Following up with “War Ensemble,” the band cranked the intensity even higher. The song’s rapid-fire riffing and breakneck drumming were executed with machine-like precision, yet there was an unmistakable rawness that only comes from a band that thrives on live chaos.
Midway through their set, Slayer paid direct homage to the night’s honoree with a crushing rendition of Black Sabbath’s “Wicked World.” Their interpretation was heavier, faster, and dripping with thrash energy, yet it retained the spirit of Sabbath’s blues-infused heaviness.
That Sabbath cover bled seamlessly into “South of Heaven,” one of Slayer’s most atmospheric and sinister tracks. The transition between the doomy intro and the blistering midsection created a moment of pure tension and release, a dynamic few bands can execute so flawlessly.
The band surprised the crowd by revisiting “Wicked World” briefly within “South of Heaven,” creating a hybrid moment that blended their own legacy with Sabbath’s in a way that felt natural and celebratory. It was a musical handshake between two generations of heavy music.
Then came the opening thunderclaps of “Raining Blood,” and the crowd erupted into chaos. Fans knew they were about to witness one of metal’s most legendary riffs unleashed in front of Ozzy himself, and Slayer delivered with every ounce of fury they had left.
Kerry King and Gary Holt’s guitar work throughout the night was ferocious, their solos cutting through the wall of sound like a chainsaw through steel. Paul Bostaph’s drumming was relentless, locking in with the bass to create an unstoppable rhythmic foundation.
By the time they launched into “Angel of Death,” the stadium was in a frenzy. Araya’s scream at the song’s start—a moment fans hold sacred—was nailed with perfection, sending shivers through thousands of people. It was proof that his vocal power remains intact even after decades on the road.
What made this performance special was the balance between Slayer’s own identity and their role in honoring Ozzy’s legacy. They didn’t soften their sound or alter their aggression; instead, they brought their unfiltered selves to the stage as a sign of respect.
Visually, the band was in classic Slayer form—no theatrics beyond their presence, no elaborate stage gimmicks. The focus was entirely on the music, the performance, and the energy exchange between band and audience.
The set was also a reminder of Slayer’s own legacy in heavy music. Standing alongside giants like Metallica, Judas Priest, and Black Sabbath themselves, they demonstrated why their brand of thrash continues to inspire new generations of metalheads.
For Ozzy’s fans, seeing Slayer tear through a Sabbath song alongside their own classics was a rare treat, a merging of worlds that underscored the connective tissue running through all forms of heavy music.
When the final note rang out, it felt less like the end of a set and more like the conclusion of a statement: Slayer’s fire still burns, and their respect for Ozzy runs deep. At Back to the Beginning, they didn’t just perform—they solidified their place in the grand story of heavy metal.
