Justin Hawkins has never been shy about voicing his opinions, especially when it comes to the future of rock music. The Darkness frontman has once again turned his attention to Yungblud, expanding on earlier criticism tied to the young artist’s high-profile connection to Ozzy Osbourne. This time, Hawkins addressed the subject during a recent interview with Classic Rock, sharpening a debate that has already stirred strong reactions.
At the center of Hawkins’ frustration is not just Yungblud himself, but what the singer represents within modern rock culture. Hawkins framed his comments as concern rather than personal animosity, positioning the issue as part of a larger conversation about authenticity, performance, and production. For him, the question is less about age or popularity and more about artistic direction.
By bringing Ozzy Osbourne into the discussion, Hawkins raised the stakes. Ozzy’s public support of Yungblud, particularly after the MTV Video Music Awards tribute, gave the moment symbolic weight. To Hawkins, the endorsement suggested something deeper about who is being positioned as the next standard-bearer for rock music.
Hawkins Revisits the Auto-Tune Controversy
Hawkins’ latest remarks revisit his earlier reaction to Yungblud’s Ozzy tribute at the VMAs, where auto-tune was used live during the performance. In his Classic Rock interview, Hawkins did not soften his stance, reiterating that the vocal processing undermined the integrity of the song. He described the effect as unnecessary and emblematic of a worrying trend.
According to Hawkins, the issue goes beyond a single performance. He argued that reliance on real-time auto-tune suggests a lack of confidence in raw vocal delivery, something he believes has long been central to rock music’s identity. In his view, when technology becomes the crutch rather than the tool, something essential is lost.
Hawkins also echoed comments previously made by his brother, Dan Hawkins, reinforcing that their criticism comes from a shared perspective rather than a spontaneous jab. Together, they framed the moment as symptomatic of a broader shift where spectacle and polish are prioritized over grit and imperfection.
Ozzy’s Endorsement and the Idea of an “Heir”
What seemed to frustrate Hawkins most was the implication that Yungblud could be seen as Ozzy Osbourne’s successor. Hawkins questioned the idea openly, suggesting that if rock’s future is being shaped by theatrical presentation and pop-leaning production, the genre could be heading in the wrong direction. His comments carried an undercurrent of disbelief rather than outright hostility.
Ozzy’s influence looms large in rock history, making any perceived endorsement especially meaningful. For Hawkins, that influence comes with responsibility. When Ozzy aligns himself with a newer artist, it sends a message about values, sound, and legacy—whether intentional or not.
Hawkins framed this moment as less about lineage and more about standards. He expressed concern that rock’s rebellious core could be diluted if its icons lend credibility to performances that rely heavily on digital enhancement. In that sense, his critique was aimed as much at the system surrounding modern rock as it was at any single artist.
A Wider Debate About Rock’s Future
Hawkins’ comments have fed into a larger, ongoing debate within the rock community. Some musicians and fans share his unease, viewing the rise of theatrical aesthetics and pop production techniques as a departure from rock’s roots. To them, authenticity still means flawed vocals, loud guitars, and minimal polish.
Others see things differently, arguing that genres naturally evolve and that blending styles keeps rock relevant. Supporters of artists like Yungblud point out that younger audiences engage with music differently, and that production tools are simply part of the modern creative palette. From this perspective, resistance to change risks turning rock into a museum piece.
Hawkins’ stance sits firmly on one side of that divide. While he acknowledges evolution as inevitable, his comments suggest that not all change is progress. By continuing to speak out, he has positioned himself as a vocal defender of traditional rock values—whether or not the next generation agrees.