Near-Death, Full Throttle: A Conversation With Cliffdiver

For a band that’s only two albums into their career, Cliffdiver has already been through more ups and downs than most acts with twice their tenure.

 From quickly becoming the buzziest band out of Tulsa with 2022’s Exercise Your Demons to nearly dying in the most Final Destination van accident on their way to 2023’s Punk Rock Bowling festival (a chain link snapped off of a truck and burst through the window of their van, lodging itself in the neck of bassist Tyler Rogers, who was knocked unconscious and hemorrhaging blood while driving the van), most people’s first introduction to the pop-punk/emo band was sensational in one way or another.

And while Cliffdiver’s sophomore effort, 2024’s birdwatching, hasn’t led to quite as many dramatic headlines, it has seen them grow their fanbase, entrench themselves in the national scene, and refine their sound while dropping from a whopping seven band members down to five.

With more music on the way and a continued head of steam as the band continues to plow forward, Hit Parader caught up with co-lead vocalist Joey Duffy backstage to talk about the Oklahomans’ successes, goals, and how near-death experiences can shape a band.


Hit Parader: How has the band grown since the release of birdwatching as opposed to the immediate jumpstart of Exercise Your Demons?
Joey Duffy: It’s been really interesting and transformative going from our first album with us all coming together, trying to learn each other and how to write together, to putting out birdwatching, which felt like a trauma response for a lot of us. After we all almost died in the accident, we had that perspective of sitting back down and saying, “OK, what do we really want to talk about? What’s important to us? How do we write an album about all of these different emotions, instead of the linear story that Exercise Your Demons was?” I think a lot of people have connected to the more personable nature of this album, and it’s more of a collection of moments than a story. It’s nice to see people go crazy for the new songs live, which isn’t what you always see. People are screaming the new songs, which is a beautiful thing. We’ve just got to get more people to listen to it.

HP: What was it like to get back in the van after the accident?
JD: We had to process a lot, but we made jokes about it because that’s what we do in Cliffdiver. You’ve got to laugh about the pain, or else it will overcome you and drown you in the ocean of regret. When we were in the hospital on the day of the accident, Tyler was like, “Are you guys going to keep going to Las Vegas?” We’re like “No, dude, we’re not going to go to Las Vegas right now — especially not without you.” But right when we got in the van a month later, Tyler drove first and said, “Alright, let’s try this again.” Now, there’s stress related to that accident that’s always present when you’re driving. When the van swerves twice, everybody’s clenched up, looking down the aisle, going, “Is this it? Is this Final Destination, and it’s finally catching up?” But it’s been an important meditation on the stoic nature of life that everything is so temporary. We were having the best day ever that day, playing Madden in our brand new van. We were driving to Zion National Park to hang out in the wilderness, and then all of a sudden, we’re all almost dead, even though we were all doing the right thing. But as someone who’s been very suicidal in the past, it’s a calcifying moment of “Oh, I don’t want to die.” In that moment, death is there. You have the opportunity, but you go “No, no, no. I’ve got to be here to watch my son grow up. He needs me.”

HP: How different is Cliffdiver as “only” a 5-piece band compared to your old lineup?
JD: Last year, when Gil [Erickson, guitarist] and Dony [Nickles, saxophonist] left the band to focus on their families, it was the question of “How are you going to bring that same energy and vibe and enthusiasm with a different sound?” We really came together to figure that out. That’s the good thing about having a band full of fabulous musicians. I’m happy to admit that I’m the least-talented member of the band, but I bring a lot of other stuff. Now, I’m picking up the guitar more, trying to write some guitar stuff for the next album that we’re working on right now, and we’re pretty excited about the opportunity to evolve again and push our own barriers to see what we’re capable of and what it’ll be like.

HP: Having played so many huge festivals and tours, where else would you want to perform?
JD: The goal is to go play all over the world. We want to play in Japan, Australia, England, South America, everywhere. We want to explore the world. I spent so much time not traveling because I spent all my money on getting messed up, so now I want to see everything. I want to breathe in all these new airs and see all these birds in different countries. I saw like 70 new birds in Ireland, and it was the greatest. That’s what rock and roll is about — not drinking and looking at birds. I also hope that we’re playing on the main stage at more festivals. I hope my son’s up there when he’s 23 playing guitar or piano with us, and I hope we do this forever because I think that the world needs as much hope as possible. That’s what Cliffdiver is to me. It’s being able to look at people and say, “It gets better, I promise. I’m an idiot, so if I can get a little bit better, you can too.”

HP: Are there any other messages you want to share through Cliffdiver?
JD: Just that it’s a weird time to be a musician. With the rise of authoritarianism, it’s never been more important for musicians to use their platform to speak out for disenfranchised groups, tell people that they’re going to be OK, and fight for people when they can’t. Be okay, you have to use your voice to call out this kind of bullshit when we see it. People should be free to be who they are, love who they want, and not have to worry about secret government hit squads kidnapping them in the streets. Fuck ICE. Fuck Trump. Trans rights matter. Free Palestine. Love your neighbors. That’s it.

Cliffdiver appears in our “What Does Punk Mean To You?”
article in Issue #1 of Hit Parader:

Hit Parader #1: Yungblud Edition

October 2025 — $12.99

YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…

Serious Metal, Seriously Fun: A Conversation With The Barbarians of California

Following the release of last year’s debut album, And Now I’m Just Gnashing My Teeth, the Barbarians of California have been one of the fastest-rising metalcore bands on the planet. Bringing a fresh take on the heavy genre-bending sound made popular by bands like Every Time I Die, the group helmed by AWOLNATION’s Aaron Bruno and veteran rock producer Eric Stenman has found a musical home with bands and fans throughout the punk, metal, and hardcore scenes.

With new singles actively releasing through the end of 2025 and their sophomore album in the works, there’s no reason to think the Barbarians’ momentum should slow down anytime soon. From recently playing arena shows opening up for Deftones to landing on some of the biggest music festivals of 2025 (and likely 2026), Stenman, Bruno, and the rest of the band have clearly found a unique niche of mixing metal and hardcore sounds with their existing pop-rock sensibilities to deliver a crowd-pleasing sound like no other.

Hit Parader caught up with Stenman backstage to discuss the band’s rise, mixing things up in the metal scene, and more.


Hit Parader: What’s gone into the recent rise in popularity of the Barbarians of California?
Eric Stenman: There’s just so much love involved. Any person that throws a like on a social media post or listens on one of the streaming services, it all means so much to me. I made music back in the early 2000s, then I went into the studio side of things, so to come back later in life and be able to write and perform music and get any acceptance of it is just mind-blowing. I appreciate every interaction with every person at every stage.

HP: Barbarians is obviously a heavy band, but it has a wide range of fans, so how does it feel to play festivals where you’re by far the heaviest act?
ES: We’re always walking that balance, because we are very heavy and try to melt faces with the music, but we also have a comedic element and a lot of melody in there. We want it to all make sense and not come out of left field, but we welcome being the heavy band with a twist that can hopefully fit in elsewhere. I don’t know whether or not we’re succeeding in that, but it’s been a blast so far, and we can’t wait to just keep tweaking people’s heads out a little bit.

HP: With so much attention on the debut album last year, what’s the focus going forward for the band?
ES: We’re in the middle of putting out a few new songs, and we’re working hard to get the next record out. We just want more of this music to exist in the zeitgeist because it’s so fun to make these songs as fans of the music. Whether 5 people listen to them or 500,000, it’s just fun to put more music back into the world that you love so much. We’re just focused on more songs and more shows. 

HP: Seeing as you played in bands when you were younger and then moved into the studio for a while, what was it like coming back to the stage this time around?
ES: The immediate thing I’m struck by is the instant feedback. It used to be that you’d play a show in Denver and go, “I think they liked us. Those two people in the front were clapping hard.” With social media, you now get instant feedback of good and bad comments — and I appreciate the bad too, because I get a laugh out of it and learn from that. It’s also the immediacy of releasing music, because there used to be so many gatekeepers. You had to go to a real recording studio and spend a bunch of money to get the record done, and then maybe sign to a label and wait six months for the label to figure out their plan. Now, you can literally finish a song and have it out a week later on the same platforms as Metallica and Taylor Swift. That’s a huge game-changer.

HP: What can fans of And Now I’m Just Gnashing My Teeth expect from the new songs?
ES: The challenge for any band is to always sound like you, but with a new spin on it. Obviously, we’re a baby band only on our second record, but it still has to be worth someone’s time. You want them to hear something new, but you don’t want to leave them scratching their head because it’s so different. We’ve all had our favorite bands make records that are just too far off the reservation, and that’s not what we want to do with Barbarians. We want to do what we do, but better. We set a benchmark that we’re very proud of, but we have a chip on our shoulder, and we want to beat it. 

HP: At a lot of the big festivals and such, you’re playing to crowds that aren’t necessarily familiar with Barbarians. Is there anything you’d want to tell those people?
ES: I think it could serve as an introduction to people who don’t love heavy music, hardcore, or metal. This could be a gateway drug into those genres, because I think we have a catchier twist, and we want you to bob your head. I love math rock and math metal, but I also like to know where the “1” is and be able to bob my head to it. If you hit a good riff, let me hear that riff some more. Some bands hit it at 4:50 into a song and never go back to it, which makes me sad. I want to hit that riff early and often, and I want people to find at least one part of one song that gets them to bob their head. We don’t claim to be a pure metal band or anything, but we try to strike a musical nerve where we can.

The Barbarians of California appear in our “What Does Punk Mean To You?”
article in Issue #1 of Hit Parader:

Hit Parader #1: Yungblud Edition

October 2025 — $12.99

YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…

Back With a Bang: A Conversation With The Ataris

With so many bands — particularly pop-punk bands — celebrating major anniversaries for their albums from 20-25 years ago, it’s no surprise that a lot of them are jumping back on the nostalgia bandwagon.

But while the Ataris could go from town to town selling out shows and drawing crowds at festivals by playing So Long, Astoria over and over again, they’re not content with just living in the past. Instead, Kris Roe and his collection of friends are finally releasing their long-awaited sixth album in March, pushing the band’s discography forward for the first time since 2007’s Welcome the Night.

Hit Parader spoke with bassist Mike Davenport about the band’s return to the spotlight, maturity, and much more.


Photo: Press Provided

Hit Parader: Looking back on the last 30 years, what does the “story arc” for the Ataris look like?
Mike Davenport: It’s funny because it’s not just an arc, but an up-and-down kind of situation. When you’ve been a band 30 years, you see yourself start really small — our early shows were played to 19 people in a bagel shop or something — and then you get to this point where you’re playing these festivals like Reading and Leeds in Europe with 50,000 people or whatever. But you also hit lulls in your career along the way in this very Spinal Tap way, where you’re like, “What happened and why are we here?” Then things start to come back up again. It’s just like everything with music, it has its ebb and flow. When we started our first tour, we called every basement, backyard and VFW hall we could. We got in the van and just booked anywhere we could play. So from those days to 30 years later playing shows like Riot Fest and Aftershock, we couldn’t be more grateful.

HP: How different is it to be in a band as a father, compared to when you started basically as a kid?
MD: Well, one big difference is that when we would go out on tour in our early days, we’d go out for three, four, five months at a time. We’d barely come home. It was like a “We don’t know what home is” kind of thing. Now in our older, wiser days, we try to mostly do weekends and get home for a couple days in between. It’s still a crazy grind, but you get home and make sure the kids are in school and that your wife still loves you. That’s the most important thing, but it takes a lot of time to learn that.

Photo: Tijs van Leur

HP: How does it feel to see the nostalgia and love for not just The Ataris’ So Long, Astoria, but also some of the other massive albums from the first half of the 2000s?
MD: There’s a lot of nostalgia for that era going on right now. I grew up listening to a lot of metal bands as a kid — and Hit Parader was a magazine I read for a lot of those metal bands — and hair metal really never saw the resurgence that pop punk has. It’s so weird to me that our genre has kids latching on to it again, almost like a second coming. We all blew up in the late ‘90s and early 2000s, but then there was a downswing where even bands like Blink-182 went from playing stadiums down to venues like the House of Blues. But now, for the last 10 years or so, all of us have taken this big step back up because the next generation has come in loving pop punk. I’m just wondering if hair metal is finally coming next.

HP: What goes into striking the balance of not being a full-time band anymore but still making the most out of the weekend festival gigs and such?
MD: I just think it’s maturity. We’re all pushing 50 now, and as we get older, I think we realized that the balance is just as important to our success in playing music. We all laugh at each other, because we have this disease where it’s like we’re sick because we love that time on stage so much. That hour or however long it is that we get on stage drives us inside, and we have to have that, but finding the balance between that and our real lives at home is very tricky. We all have families and kids and those kinds of things, and now we’re able to manage it better because we’re older and wiser than we were as kids.

HP: How have you seen the music industry as a whole change over the decades?
MD: Well, we used to sell records. We don’t sell records anymore. It’s all about the live show now. We get paid better these days to play shows than we did back then, but we don’t sell records, so we don’t get paid on that end of it. The good news is that the kids are 100% into what we’re doing right now, so it’s good to know that it didn’t just fade away. There was that time in the middle where maybe we thought we were going to go the way of the dinosaur.

HP: After so many years together, what do you want to see the Ataris do in the next 5 years?
MD: I used to think “5 years? Talk to me in 5 days!” But now that we’re a little bit older and wiser, I can think a little further ahead. We love getting to play in other parts of the world, so the next couple of years will definitely have us in South America, Australia, and places like that. The goal for the next couple of years is to play in as many cool places around the world to as many of our fans as possible. We just got up to Alaska for the first time ever in our career, so we’re trying to hit all of these places where our fans can see us live.

HP: What was it like to record a new album for the first time in nearly 20 years?
MD: It feels good. We all finally got focused on what was important, what our job was in the band, and put behind us a lot of things that had been tearing us apart in the middle years.

The Ataris appear in our “What Does Punk Mean To You?”
article in Issue #1 of Hit Parader:

Hit Parader #1: Yungblud Edition

October 2025 — $12.99

YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…

Still Riding the Wave: A Conversation With Senses Fail

While many of the 2000s biggest rock bands are back for the first time in a while to celebrate 20- or 25-year anniversaries for their iconic albums, Senses Fail never really went away. 

Having released an album every few years since 2004’s breakthrough Let It Enfold You, vocalist Buddy Nielsen and his bandmates have remained remarkably consistent over the last 20+ years. And with tour dates and festivals on several continents each and every year, the veteran post-hardcore act shows no signs of slowing down. 

Hit Parader spoke with Nielsen backstage to chat about the past, present, and future of Senses Fail.


Photo: Press Provided

Hit Parader: What’s kept Senses Fail consistently going for decades as other bands have taken some pretty extensive breaks?
Buddy Nielsen: I think at the end of the day, it’s really what I like doing. There were some times where we might have slowed down behind the scenes after the mid-2000s, but I just really enjoy music and the act of touring. I love traveling, and I think the main thing that really buries a lot of bands — aside from money — is that they don’t like traveling. So if you’re not making money and you don’t like traveling, it’s really hard to keep the band going. And the money comes and goes, everybody goes through that, it doesn’t matter. I think Neil Young said, “Sometimes you’re playing clubs, sometimes you’re playing stadiums,” and that’s coming from someone as iconic as Neil Young. There have been times I’ve seen Bob Dylan playing 1,000-capacity theaters, and you’re like, “Really?!” But that’s the reality, it’s not always the big fest or the big show. When that’s OK, and you still love doing it, you can ride the wave of whatever your career is going to be — because it’s not going to be linear. I think that freaks most bands out, because they expect their career to just be this linear rise. There’s always going to be some ebb and flow to it, but if you still love traveling and playing, then generally you can make it all work.

HP: How different is that traveling and playing now as opposed to when you were doing it early on?
BN: It’s difficult sometimes. I got food poisoning two nights ago, and sometimes I show up sick because I’ve got two kids at home. It’s a lot more like we’re here to do business instead of the extracurricular activities. Those happen, and they’re fun, but that’s few and far between. I went to bed at 9 last night and slept for 12 hours, because I just can’t do all of it anymore. The people that never stop are the ones who are no longer with us, unfortunately. It’s more like showing up to do a job now. We look at it like it’s our job to go out there and be consistent and represent the memory of what the band is to our fans. We’re there to give people a chance to have some sort of escapism from this shithole we live in. (5:41) There you go.

Photo: Press Provided

HP: What’s it like to play a festival where half of the bands were inspired by Senses Fail and the other half inspired you?
BN: It’s cool because I’ll get to hear records I grew up on, and it feels like it’s just passing the torch from one generation to the next. We’re right in the middle right now, and that’s a testament to the festivals. We love playing festivals. I know some bands hate them, but it’s always been amazing to come out and see everyone. I’m just excited to be able to continue having fans come out, because that’s one thing I don’t take for granted. I think a lot of people just assume once you have a fan, you’re always going to have a fan, but I don’t think that’s the case. You’ve got to really continue not to bum them out, and that’s our goal.

HP: Speaking of festival sets, how do you balance wanting to play more recent music with the nostalgia side of your catalog?
BN: For a festival, we’re going to play mostly the hits, but if you come see a headline show, we’ll mix it up. We have shows where more than half the set is from our more recent, heavier records, but we find a place and time to do it. At a festival, you’re playing to people who only know one song from your band, so you should play that one song.

HP: How does it feel to be celebrating big 20-year album anniversaries with a lot of bands you’re friends with these days?
BN: I still keep in touch with Mikey [Way] from My Chem[ical Romance], and we’re always talking about stuff like that. Like when they played MetLife Stadium was just so crazy, because that was their dream for as long as I’ve known them. I’ll post some flyers from old shows where the bill was like Senses Fail, My Chem, and some random band that isn’t around anymore. It’s just nuts to look at that and reflect on it, even as the members of the bands who are doing it. It’s crazy to be allowed to do this for so long, because it was a completely different world we started in. To have started in that world and exist in that for so long, and then end up in this one, navigating all the bullshit — it’s been a wild ride for a lot of the bands.

HP: After all this time, what’s left for you to do with Senses Fail?
BN: There are a lot of places we haven’t gone yet. We just went to South America for the first time, and I’d love to go to Southeast Asia and China. I want to do more of that and more festivals — bigger festivals too, like Coachella. I want to do everything for the rest of my life, so someone’s going to have to tell me when it’s time to stop.

Senses Fail appears in our “What Does Punk Mean To You?”
article in Issue #1 of Hit Parader:

Hit Parader #1: Yungblud Edition

October 2025 — $12.99

YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…

The Party Didn’t End: A Conversation With Dance Hall Crashers

When Dance Hall Crashers disbanded (for a second time) in the early 2000s, most believed that the ska punk group had run its course and would just be a well-remembered part of the East Bay scene — much like the scene’s seminal stars, Operation Ivy, before them.

At the start of 2025, the band announced their return after more than two decades away, featuring major dates like Vans Warped Tour and Riot Fest (in addition to a smattering of headlining shows), but what no one expected was just how much Dance Hall Crashers’ popularity grew during their years off.

Following the modest success DHC had the first time around, the legacy of the ‘90s ska punk scene ebbed and flowed as the subgenre faded in and out of favor. But with each new generation of bands, Dance Hall Crashers’ impact grew even as the band remained on the sidelines.

Now that they’re industry veterans back playing shows exclusively on their own terms, Dance Hall Crashers is ready to bring their party to all who’ve missed them since 2004. 

Hit Parader caught up with the band’s vocalists Elyse Rogers and Karina Deniké, as well as guitarist Jason Hammon, backstage to chat about


Photo: Alexander Ripa

Hit Parader: It always seems like Dance Hall Crashers are having a tremendous amount of fun at every show. What goes into that chemistry night after night?
Elyse Rogers: Well, we actually all get along off the stage, too.

Jason Hammon: We actually do. It’s crazy.

Karina Deniké: I think if you’re going to spend the time to write and create fun music and take people out of their home environment for a stage show, you want it to be a place where you can have a good time. The world is crazy right now, and the news is often tough to listen to, so you want to provide a place where you can have fun and forget everything else for a minute — forget your normal life, work life or whatever it is. So to me, a stage show should be a fun, good experience, and that’s what I try to think about when we’re on stage. “Let’s make this really fun. Let’s all be here together — meaning everyone that’s at a festival or everyone that’s at a show of ours — and just enjoy ourselves. That is definitely an attitude that I try to bring to our shows.

HP: Speaking of those festival shows, when you go to a festival now after taking a couple of decades away from the scene, what’s it like to see the next generation of bands that grew up listening to you as kids?
Deniké: It’s great. I think it’s really fun.

Rogers: I think it’s super inspiring. I love to see bands like the Linda Lindas who are killing it. There are a bunch of younger bands who are not only just carrying the torch, but also doing their own thing with it. There are different issues that they have to deal with today that we never had to deal with, and I think it’s awesome. The music scene is thriving.

Deniké: And then we selfishly get to see our favorites at the festivals too, like Jawbreaker, Weezer and Green Day [all of whom played Riot Fest 2025].

Photo: Chris Cuffaro

HP: Given the current divisive political climate throughout the world today, do you think it’s more important than ever for bands like Dance Hall Crashers to bring unity and joy to people through your shows?
Hammon: I think so.

Deniké: I totally do. I think that I appreciate it more than I used to because things are really tough right now. Any kind of sense that we’re all in this together and reminding people that there are forces of good that are trying to keep us all together feels more special than it ever has before. [Dance Hall Crashers] shows and festivals do that specifically, and it makes it feel like every moment is special right now, which is not always how I felt.

Rogers: And I also think that just bringing levity to the world is so important at the moment, so we do our best to do that as well.

HP: Having come out of the ska punk scene of the ‘90s, what’s it been like to come back and be able to play with so many different subgenres of bands and fans?
Deniké: It’s fun. Sometimes we’re the kind of random odd man out — or odd woman out — but I think that’s a really good balance for us. Having us on a bill for [a big show or festival] brings something different. We’re a little of this and a little of that, and we try to bring a little bit of our influences to every set — and I think it works.

Hammon: We’re like the misfit toys anywhere we go. When people hear us, they know it’s us because there are not a lot of bands like us. We used to always be the odd ones out, because the ska scene was kind of sour on us at various times and we never really fit in anywhere else. Now, it’s like everybody is just really happy that we’re playing again. It’s really fun.

HP: How does it feel to see that reception from fans and the scene and industry to have Dance Hall Crashers back and seemingly bigger than ever before?
Deniké: I think it’s incredible. I mean, it’s exceeded any of our expectations of what that could possibly mean, and it’s been really beautiful.

Hammon: More than anything else, I think it’s been totally humbling for us.

HP: Now that Dance Hall Crashers is back, what kinds of things would you like to see the band new both in the immediate future and 5 or 10 years down the line?
Deniké: I think we’re really just taking it day by day. Our ethos right now is that if something sounds fun and we all want to do it, then we will. We’re not making plans beyond that, you know?

Dance Hall Crashers appear in our “What Does Punk Mean To You?”
article in Issue #1 of Hit Parader:

Hit Parader #1: Yungblud Edition

October 2025 — $12.99

YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…

Fast Food, Heavy Riffs: A Conversation With Mac Sabbath

In the world of obscure subgenres of rock music, there’s likely only one act that can be described as “Drive-Thru Metal.” And that band is the grotesquely unique Mac Sabbath, the hard-rocking quartet of mutated fast food mascots composed of Ronald Osbourne, Slayer MacCheeze, Grimalice, and the Catburglar.

As the name might suggest, Mac Sabbath is a fusion of heavy metal songs (particularly Black Sabbath tunes, but they don’t rule out some of the other greats) redone with lyrics about food (particularly of the fast and cheap variety). It’s hilariously wild, heavily costumed, impressively entertaining, and walks a very strange, greasy line between performance art and hard rock in ways that rival the biggest four-letter names in that space (like KISS and GWAR, for instance).

On one hand, that combination is every bit as ridiculous as it sounds, but at the same time, simply referring to Mac Sabbath as a “parody” band almost doesn’t do them justice. The four mutants can rock as well as any non-fast-food-themed band out there, and arguably find ways to do some of the classic songs just as well, if not better than their original versions — just with ridiculous food-based lyrics.

Of course, seeing as they’re time-traveling mutants from another dimension (or something along those lines), they’re not exactly the easiest bunch to land an interview with. Thankfully, Hit Parader caught up with Mac Sabbath’s “manager,” Mike Odd (who’s definitely not also in the band) backstage for an entirely accurate interview (which is totally not full of in-universe jokes and stories, as per usual) about the band’s mysterious origins, their musical stylings, and much more.


Hit Parader: How did you get involved managing Mac Sabbath?
Mike Odd: Well, I got roped into it. I had an oddities museum in East Hollywood called the Rosemary’s Billygoat Odditorium, and they called me Mike Odd, because I’m a freaking weirdo. When you have a place like that, you put yourself into the world of strange, and you get all these calls. It’s always like ‘Oh, come out and see my two-headed otter skeleton in my shed’ and blah blah blah. So I get this call to come out to this burger place, and I’m like ‘Oh, it’s going to be a Virgin Mary toasted on a hamburger bun or something, and they’ll do an auction.’ Then I go out there, and they’re having this fight club in the middle of the night in the basement of this really large hamburger chain that the upper management does not know about. 

HP: Wait, what happened that evening at the basement fight club?
MO: Well, it was a lot of stuff I can’t talk about, but I’m there in the basement, and there’s this band playing these Black Sabbath riffs and screaming about Monsanto and GMOs — and the band is all these mutated fast food mascots. It’s just chaos. Then the band came up to me like ‘We want to be a real band and have you bring us above ground as our manager, because we saw that you had your own monster band [Rosemary’s Billygoat].’ They knew that I knew a couple of places in LA that I could put them, and they’re all talking about being time-travelers and crap. So I booked them this thing and shot a video of them as a goof, and then all of a sudden MTV picked it up, Black Sabbath posted it, and we went to England to play Download Festival with Kiss and Slipknot and Motley Crue. That was when I was like ‘I guess I have a new job that pays a little better than selling oddities.’

HP: Mac Sabbath feels like something that could only come to be among the weirdos of Los Angeles, and yet now it’s spread all over the world.
MO: Well, that’s where it got birthed, but they quickly shipped us off to England, which was very shocking to me. The word is getting out now, so the [non-weirdo] jerks will be there soon I guess. Already, we play some festivals that are way too big to be all weirdos. If there’s a big festival or we’re in a big city, there’s going to be a certain percentage of jerks even at Mac Sabbath shows. Sometimes we go places and I can’t believe how few jerks there are. The band will play to many thousands of people and seem very well-received — even if the stage is much further away from the weirdos than usual. I think we keep the jerks at bay.

HP: How difficult is it for Mac Sabbath to come up with all of these various food — and particularly fast food — references, while still fitting them into Black Sabbath and metal songs?
MO: That’s one of the things I’m always amazed by, because the original Black Sabbath only lasted like 10 years, and here we are in our 11th year. I just don’t even know how to feel about that, but it just keeps happening. They just come up to me like ‘This is our new song. It’s an Iron Mai-Denny’s song, and it’s about a fish sandwich.’ Then they told me it was called ‘The Grouper’ and I’m just like ‘How does this keep going? How much longer can this happen?’ It seems like they’re going to run out of foods sooner or later.

HP: With so much going on and the state of the world right now, it seems more important than ever for acts like Mac Sabbath to give some of the weirdos a little absurdity and levity. Is that something that goes into consideration for the band?
MO: I think it absolutely always has been 100% about that. It’s not all just jokes and good times though, because there’s a moment at the finale of the set where they actually close with a Black Sabbath song as a tribute to Ozzy. Things get a little serious at the end there, which freaks me out, because I’ve never seen that side of the band before.

Mac Sabbath appears in our “What Does Punk Mean To You?”
article in Issue #1 of Hit Parader:

Hit Parader #1: Yungblud Edition

October 2025 — $12.99

YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…

Prolific by Design: A Conversation With James

As a band with not one, but two massive platinum singles from the ‘90s, it would be perfectly understandable for James to just cash in on the nostalgia and fill venues with “Sit Down” and “Laid.”

Instead, they took about half of the 2000s off and returned with a mission to release a new album every couple of years that would rival their 20th century success. Roughly 400 songs across 18 albums later, the English indie rockers have reached a point where they can play for (nearly) any audience and put a uniquely catered set together every single night.

Hit Parader spoke with vocalist Tim Booth on his tour bus about the band’s prolific output and how they keep it interesting.


Hit Parader: Seeing as James has played at so many different festivals recently, what is it about the band that makes it fit in with so many different crowds?
Tim Booth: We don’t! Lollapalooza [1997] taught us that. We were opening for Korn, Tool, Snoop Dogg and Prodigy, and there was a lot of [homophobic] abuse coming our way. So we dressed up in mini dresses and sparkly, matching, pastel, mirrorball shirts, because we felt like “If they’re going to call us that, we may as well embody it.” But that was really the only tour where we struggled, and at the end of that tour, Korn said “You’re our favourite band! Will you come on tour with us across the States?” We went “Thanks, but we’re done with that.” It was very kind of them. But I think it’s because we’re good live, and we aren’t scared to go on at any time and win people over. We have 400 songs and 9 exceptionally talented multi-instrumental musicians, so we’re not afraid to adorn any stage. We quite like not being headliners.

HP: What’s helped James not just remain a band, but also be so prolific over the years?
TB: We went through some hell in the ‘90s with the usual clichés of addiction. I ended the band then because I thought someone would die. We came back in 2006, and virtually everyone’s been pretty clean since then. We worked out our psychological differences, and the last 6 years have been the most fun in our 44 years together. We stopped trying to be tortured artists and became a bit more of a love bomb. We still have the tortured artists in there, but I think we’re closer to Springsteen than indie music. We came a year and a half before The Smiths — although we have less difficult human beings to work with. Every band goes through shit, but we’re in an amazing place now. We’re still hungry. We had a No. 1 album last year and knocked Beyoncé off the charts in the UK. We still write all the time, and when we write, we will jam 120 pieces of music and then choose 15 for an album. Last album, we had so many left over that we put a second album out from demos that we didn’t develop.

Photo: Press Provided

HP: With that many songs, how do you decide which ones go on the album?
TB: Every song is improvised between the four of us, and that’s one of the most enjoyable parts. We hire a cottage in the middle of nowhere, jam for six days, and do that four times every two years to create a pool of music. Then we sift through it and work on which ones to develop into songs. Then we bring it to the band, and they contribute their parts. I don’t see people writing like that. I see one or two singer-songwriters, but this is four, and none of us control the process. I might try to drag the song one way, and then someone else will drag it another. We give each other permission to do that, and then we’ll vote in the end on what direction is better. Sometimes one of us gets upset, but it’s not a big upset. 

HP: How has the live show of James evolved with the additional members and hundreds of songs?
TB: We change the set every night, depending on who we’re playing to and what day of the week it is. We play safer with a festival audience, but we play a full two hours when we’re on tour. We do it our way, and that keeps it fresh. I can’t understand bands who play the same set every night. I don’t know what the guys are going to do each night. I don’t even choose the set list anymore, it’s all shared — and we may change it in the middle of a set. We may look at the audience and go “We’ve lost them, let’s pull them back in with some songs.” We pick a particular crew because the lighting man and sound man know that we might change the songs at any second, and they have to adjust — they can’t just press play on some computer programs and let it run throughout the whole gig, like most pop acts. It’s a living, breathing piece of communication dependent upon the mood of the audience, what’s going on in the world, what Trump’s done today, who got shot, which city is the National Guard invading and how far has the fascist takeover of America progressed.

HP: What drives James to keep cranking out new music instead of just relying on the nostalgia of your hits from the ‘90s?
TB: We’re turned on by difference. We’re turned on by the song we jammed that sounds like nothing we’ve ever done before. We’ll want to work on those songs and neglect the songs that come a little bit too easily. We’ll stop playing certain singles for years because they’re too easy. We like songs that take people on a journey, challenge people a bit more and give us room to improvise. We’ve always had to make music that could compete with anything we did in the ‘90s, and that’s why we make 120 songs and choose 15, so we can keep the standards really high. We have to accept that some of our audiences may slag us off because we don’t always play “Sit Down” or “Laid,” but when you’ve got 400 songs, there’s always going to be someone who didn’t get their favorite song.

James appears in our “What Does Punk Mean To You?”
article in Issue #1 of Hit Parader:

Hit Parader #1: Yungblud Edition

October 2025 — $12.99

YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…

From CBGB to Everywhere: A Conversation With Helmet

Emerging as the alternative metal band from the ‘90s NYC scene, Helmet has always found its way as a unique icon of the hard rock world regardless of genre or other labels.

Across nine albums and countless tours, festivals and other massive shows, singer/guitarist Page Hamilton and his band have left a mark on anyone and everyone who was looking for something a little “different” in the rock world.

Hit Parader spoke with Hamilton backstage in Chicago to chat about the band’s history, legacy, and what’s next.


Photo: Press Provided

Hit Parader: After coming up in the New York City scene of the ‘90s, what’s it like to look back on that era now?
Page Hamilton: It was amazing. I think about interviews that John Stanier — my original drummer — and I had done, and people would ask us “Is there a scene in New York?” and we’d say “Nah.” But looking back now, it was an amazing scene. There were so many bands that were our brothers and sisters, like Surgery, the Honeymoon Killers, Das Damen and Skunk, and bands from all over New Jersey, New York and Connecticut would come in to play places like CBGB. We actually auditioned at CBGB. I went in there with a four-song demo tape when Louise Parnassus and Hilly Krisstal were just sitting there. I remember when Kim Deal or Frank Black would be in town and they would be hanging out at CBGB. There was another place called Max Fish where we ran into Gibby [Haynes] from Butthole Surfers one night with Scott [Weiland] from Stone Temple Pilots, who was opening for the Butthole Surfers. There was a great community in the Lower East Side and East Village at least. It was a fun time.

HP: Helmet has really floated between subgenres in the hard rock world for so long, what’s it like to play some of these giant festivals with such a wide range of acts?
PH: I love it. We’ve always felt like the awkward stepchild. We’ve played metal festivals with Motley Crue, Black Sabbath and Marilyn Manson, and we also played the Warped Tour when it was more emo and screamo bands like Thursday, Blink-182 and that whole world. I remember [Warped Tour leadership saying they were] standing in the crowd and seeing two 16-year-old boys watching us like “Wow, what is this? This is different but it’s amazing!” They didn’t know us at all, but they were into it. And I love bands like the Buzzcocks and the Sex Pistols and some of the punkier stuff. My old drummer hated it, but I fucking think they’re great songs.

Photo: Press Provided

HP: Having been in Helmet for 36 years now, how different does it feel at this point of your life as opposed to the early years?
PH: I feel very secure in my place in music as a singer, songwriter and guitar player now. I don’t have a guitar-shaped pool at my mansion in the hills or anything like that, but that was never my goal. My goal was to make music that I believed in and could be honest singing, and we still do that. My band has now been together with this current drummer for 20 years, and my bassist is the “new guy” for the last 15 years. I love them like little brothers. They were teenagers when Helmet came out. Being a rock star could last you two years, or — if you’re lucky — it could maybe last a lifetime. If you want to be a rock star, then don’t take any advice that I have for you, but if you want to be a musician that will never, ever, ever fade away, that’s what I want. You wake up and you play music. You play your guitar, you sing, you write songs. You do something because you have to be honest about it. I’ve always been honest about what I do. I’ve never wanted to be a rock star, I just wanted to be a musician. I’ve been so lucky to make a living doing what I love.

HP: Speaking of your songwriting, how different is that process for you now as opposed to three decades ago?
PH: I know so much more now, and I feel like when I sit down to write, I still have a lot of the same techniques. I always surround myself with books of poetry and everyone from Ezra Pound to E.E. Cummings and Sylvia Plath to William Butler Yeats. I still open books and read a line to get an idea from that or from personal experience. A lot of stuff from TV commercials and the consumer culture that we are part of as capitalists always inspires me to write some stuff. I’m also more confident in my singing now than I was back then. Back then I had two styles, I could sing in this range of about an octave and I could scream and belt out stuff really hard. Now, I feel like I have more like a three-octave range. I found my zone as a baritone. I know that and I love it. It’s still about developing a musical idea, not just stringing a bunch of riffs together.

HP: What’s it like to play with these major artists who were inspired by you?
PH: It’s cool. I’m totally honored and flattered that I’ve gotten to hear Chino [Moreno, from Deftones] say “These lyrics inspired me” or Dimebag [Darrell] from Pantera say “I told you that you’d influence me,”  or Serj [Tankian] from System of a Down say his brother and he were huge fans and we had a big impact on them. It makes you feel like you’re doing something right.

After 36 years, what’s left for Helmet to do?
PH: I don’t know. We put out an album, Left, about two years ago, so maybe we’ll do another album. We’ll definitely continue to tour, but a lot less intensely than we did back then. I have other musical projects that I need to do, and I like being home with my girlfriend now. I don’t want to tour for 18 months at a time anymore now that I’m old enough to be on Medicare.

Helmet appears in our “What Does Punk Mean To You?”
article in Issue #1 of Hit Parader:

Hit Parader #1: Yungblud Edition

October 2025 — $12.99

YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…

Back on His Own Terms: A Conversation With Cobra Starship

Just a few short years ago, Gabe Saporta was happy working on the industry side of things by leading the unique TAG Music label. After all, even while his projects like Midtown and Cobra Starship were in full swing, he still enjoyed managing bands and exploring other roles in the music industry.

But while TAG is still his day job, it’s far from the only focus for the East Coaster-turned-Angeleno these days. With both of his bands reuniting (Midtown in 2022 and Cobra Starship in 2024) for the occasional short tour, major festival stage or other one-off opportunity, Saporta’s already spending more time onstage in his 40s than he did during the entire decade prior.

Combine all of his musical endeavors with his recent efforts to revolutionize men’s skincare with his Brotege line, and Saporta can frequently be considered among the busiest guys in the business.

Hit Parader caught up with the towering frontman and mogul backstage to chat about the music, skincare, and everything in between.


Photo: Press Provided

Hit Parader: After taking a decade off, what’s it been like to get back to performing with not one, but two bands?
Gabe Saporta: It’s been a lot — I’m not going to lie — especially because we’re not a fully operational thing. We’re not really touring. I’m not doing it full time. I’m still running my label. I just launched Brotege. So every time we do one of these shows, we’re revving the engine from zero. That can be a little bit daunting, but I’m also so grateful for the way we get to do it. One of the reasons why I stopped touring is because I wanted to have a family, and I don’t want to sacrifice my ability to do that for music. I did music for 15 years of my life, touring 10 months out of the year, almost every year. I didn’t want to have kids and then be away from them for that long, so I love the way that I get to do it now. I feel very grateful that we get to play these big festivals and get good slots. One of the things that touched me the most is how many young people I see out there. What gives a band longevity is having a new generation of kids coming in, and I see a lot of that with Cobra. I’m very excited about that and just thankful to everyone who’s listening.

HP: And with the bands being very different from each other — Midtown being more punk and Cobra being more pop…
GS: I was actually just talking about this before, but I just came across a Cobra fan — or maybe a Midtown fan, I don’t know — on TikTok, and she had a hot take about that. I don’t know if I agree with it, but she said that Cobra Starship is more punk rock than Midtown. Her thinking was that with Midtown, the lyrical content was very much part of the emo/post-hardcore emotional thing. It was always talking about relationships, the inner war, the struggles — everything on a very personal level. Whereas she said that Cobra Starship had a lot of societal critique in it, and that’s actually more of an attribute of punk rock than the personal lyrics Midtown had. (1:30) I don’t know if I agree with that, but I thought that was a hot take.

Photo: Bella Peterson

HP: …How are you going to balance the two going forward?
GS: I’m going to try to alternate years with them. We’re only doing Cobra this year, because there happens to be a lot of shows. I didn’t plan it this way, but we did Warped Tour, Riot Fest, and an Australia festival that unfortunately got in the way of a Midtown show I was planning to do. It’s really hard to schedule both, so if I can do one band one year, one the other year, that’s great. The goal for Midtown is to be able to at least do a great hometown show once a year. Cobra is obviously my bigger project, but Midtown was the project during my formative years as a high school kid, so it’s like your friends you make when you’re in high school. I don’t go to my high school reunion, I do Midtown shows to see all my friends again.

HP: How did it feel to come back — particularly with Cobra Starship — to bigger crowds than you played to the first time?
GS: Well, the last Cobra tour was opening for Justin Bieber in stadiums, so technically we played to 80,000 people in Chile, but there are more Cobra fans now. I think that’s the craziest part. Like at Warped Tour, they don’t tell you when you’re going to play or what stage you’re going to be on ahead of time, and we were literally the last band on Sunday. That could have been a death sentence for us. I was nervous about that, because I thought “Fuck, are people really going to stick around to see us? People are going to leave.” It was Ronnie Radke [with Falling in Reverse] and us as the last two bands when people are tired after a long weekend. But it was packed as far as the eye could see, and I was just so floored. It was just packed. (6:42) As far as the eye could see. I felt very lucky to have done that show and see all those people. Not only do people still give a shit about our music 10 years later, but it’s more people than ever. That’s probably the most rewarding thing any artist can hope for.

HP: Switching gears, what’s it been like to venture into skincare with Brotege?
GS: It’s been awesome, because it happened so organically. I had so many friends where once we got into our 30s, a lot of dudes start noticing that they’re getting older. There are tons of men’s products out there, but one is more confusing and expensive than the next, no one explains any of it, and it’s not really made in a way that’s talking to normal dudes. You have to be like a skincare sommelier to do it – even the word skincare makes me cringe. I felt like there was a real opportunity there, because people want to connect to brands that are coming from people like them. In the world we live in now, everything has become more democratized and niche-ified in a way, so you can really get something running pretty quickly. If you have that DIY ethos from the punk rock world, that’s also a quality you need to be an entrepreneur. And for me, it’s about more than the product. I want to build a community around Brotege to help dudes that don’t know what to do or where to start — and I want to do it in a fun way, so it doesn’t feel didactic and annoying.

Cobra Starship appears in our “What Does Punk Mean To You?”
article in Issue #1 of Hit Parader:

Hit Parader #1: Yungblud Edition

October 2025 — $12.99

YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…

Generations of Dissent: A Conversation With Bad Religion

Bad Religion has been synonymous with punk rock for more than four decades now, yet the Los Angeles legends are still in pursuit of their perfect album.

With 17 albums across 37 years, most of the band’s supporters would say that at one point or another, the genre’s most thoughtful group hit perfection at least once or twice, but it’s the constant striving for greatness that has kept them together and relevant all these years later. 

Hit Parader caught up with founding bassist Jay Bentley and drummer Jamie Miller backstage to chat about the band’s legacy, logo, and goals for the future.


Photo: Jim Wright

Hit Parader: What is it about punk rock that makes it so multi-generational, where bands that you looked up to can play on the same shows as bands that look up to you?
Jay Bentley: Isn’t that how it’s supposed to be? That’s what a music scene should develop into. The most surprising part to me is the viability of this music as mainstream, which up until the ‘90s didn’t exist. Whether it was the advent of MTV or the success of Nirvana or the Vans Warped Tour, those things brought this culture out into the light and validated a lot of bands who had more to offer artistically than just a rock ‘n’ roll ethereal lifestyle with smoke and clouds and drugs. This is more attuned to folk music, and folk music hasn’t gone anywhere for hundreds of years. It’s just as valid as it’s ever been. Philosophically, the music isn’t just offering teen angst, but a direction for your teen angst that we could all sort of touch — which set everyone apart from the untouchable rock ‘n’ roll thing that other bands were offering.

Jamie Miller: Bands are like bugs. They’re not supposed to have a long lifespan. Generations before us, bands started that loved the Beatles, but they never got to play with or see the Beatles. Being a band that’s been around that long, maybe we were like the Beatles to one of these new bands, and now we get to see what we inspire and they get to see us.

Photo: Press Provided

HP: What do you think has kept Bad Religion not just together but relevant at the forefront of the scene for so long?
Bentley: Tenacity times naivety. We’re too stupid to quit. I refuse to quit, and you can’t make us stop. We’ll go when we damn well feel like it.

Miller: That, and there’s never a shortage of things to write about. The punk thing is sort of a generational lifestyle thing, too. You get your skateboard at 13, your Black Flag shirt, your Bad Religion patch, and you’re a punker now. It becomes a thing and it just keeps perpetuating, which is amazing.

Bentley: It’s the logo. The entire intention of the logo was to piss off our parents. We didn’t have an audience. We just had our parents going “Will you shut up?” Brett [Gurewitz] still says he drew it as a joke, and now we’re stuck with it forever. It worked out unintentionally.

HP: It feels like a lot of things for Bad Religion have just worked out unintentionally for decades now.
Bentley: Everything that’s worked out for us, has worked out unintentionally. When Jamie came into the band, he was the right tool for the job. When Brian [Baker] came into the band, he was the right tool for the job. You mesh with people in ways that are so much deeper than just musical, and those are the things that keep the band relevant. We’re moving forward by being like-minded. We don’t have irreconcilable differences. We had those in 1983 — and again in 1994 — but that difference was our immaturity in dealing with success. We just couldn’t deal with all of these things happening, so we went our separate ways, came back together and said
“We’re not doing that again.”

Photo: Press Provided

HP: Speaking of meshing with each other, what’s it like working and creating new music with the same people all these years later?
Bentley: It’s like playing poker with your friends on Wednesday night or going bowling with the guys in a league.

Miller: Bad Religion is really just our bowling league. That’s really all it is.

Bentley: The logo looks great on a bowling ball, by the way. But that cool hang is what keeps it fun, and we all want to pursue the next great thing. People ask us “What’s the best record you’ve ever made?” and hopefully, it’s the next one. Otherwise, what’s the point of making it? We all have that same philosophy. It doesn’t matter what we did in the past. If we make another record, it better be the best fucking record we’ve ever made. 

HP: With such a huge discography and so many classic songs across different albums, how do you go about putting together a set list?
Bentley: It’s intimidating and liberating at the same time, because having all of those choices is really just a freedom that most bands will never understand. I’ve got 400 songs to choose from, and it scares the hell out of these guys when I show up with a set list.

Miller: I think there’s only been one time where he wrote a set list and I was like “I don’t even know what that song is. We’ve never practiced this!” He goes “It’s this song, you’ll figure it out. Just play a punk beat and there’s a 50-50 chance it’ll be right.” 

Bentley: That’s pretty much it for every song. It’s 50-50 that we’re all going to start on the same note, but I guarantee you by the time we get to the chorus, we’re all playing the song.

HP: All these years later, is there anything left that you want to do with Bad Religion?
Miller: We want to win “Best New Artist” for the Grammys after 45 years. There’s still a chance. There’s no rule that says we can’t.

Bentley: That’s my goal. We should win “Best New Artist” and get a “Lifetime Achievement” award on the same night.

Miller: Then we put out an instrumental song and go for “Best Instrumental Band” to sweep the Grammys.

Bad Religion appears in our “What Does Punk Mean To You?”
article in Issue #1 of Hit Parader:

Hit Parader #1: Yungblud Edition

October 2025 — $12.99

YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…