Live Review: Bat Sabbath - Sheffield

Live Review: Bat Sabbath – Corporation, Sheffield

16th July 2026
Support: Black Mastiff, Froglord
Words & Photos: Martin Hingley

Just over a year since Black Sabbath played their final show, Canadian hardcore heavyweights Cancer Bats bring their Bat Sabbath alter ego to Sheffield’s The Local Authority at Corporation, celebrating one of metal’s greatest bands. Having already paid tribute to Sabbath at Download Festival back in June, tonight’s intimate show gives fans another chance to witness the project up close.

Before the Sabbath celebrations begin, tonight’s incredible support acts more than hold their own. First up are Edmonton’s Black Mastiff, making one of their first UK appearances. Bathed in green light, they waste no time showcasing their fuzzy, distorted blend of stoner rock and doom. Their sound sits somewhere between early Black Sabbath and Queens Of The Stone Age, making them an ideal fit for tonight’s bill. Tracks such as Pyramids and the riff-heavy Paddle get heads nodding as bassist Clay Shea grooves across the stage, curly hair flying everywhere, while guitarist and vocalist Bob Yiannakoulias drives the set with thick, sludgy riffs and understated vocals. Closing with the thunderous Star Base 77, Black Mastiff leave a strong first impression and I’m hoping they won’t be strangers to UK stages for long and make it back soon.

Next up are Froglord, taking the audience on a bizarre but hugely entertaining journey into the swamp. Ambient swamp sounds echo around the room before the hooded Frogmen emerge, launching into recent single Croak. The room is abuzz with energy as frontman Benjamin “Froglord” Oak throws himself around the stage, his enthusiasm quickly spreading through the crowd as crushing doom riffs fill Corporation. Follow The Star drags everyone even deeper into Froglord’s strange amphibious world.

Soon it’s time to worship The Mystic Toad. As Benjamin passes a giant inflatable frog around the stage, the set reaches peak nuttiness as the creature appears to jokingly give its own bass solo (courtesy of bassist Luke “Bufo” Clemenger). The closing run of songs, including the blues-infused Swamp Boogie, rounds off one of the night’s most memorable performances.

“Are you ready to worship the gods of metal?” Liam Cormier asks as he swishes his cape across the stage. As the pounding opening of Children Of The Grave kicks in, Bat Sabbath immediately demonstrate exactly why this project has become so popular, delivering a faster, heavier take on the Sabbath classic. Supernaut follows moments later, with Cormier warning anyone who doesn’t like moshing to “leave this area” before pointing straight into the middle of the crowd. The crowd respond instantly, with big pits opening up and the energy levels rising even further.

When the unmistakable riff of Paranoid rings out from Jackson Landry’s guitar, dressed in an outfit paying homage to Tony Iommi, the whole venue erupts. It feels like a glimpse into what a Black Sabbath show may have been like in the early 1970s. Throughout the evening Bat Sabbath breathe fresh life into these songs, adding extra pace and aggression while never losing the spirit of the originals and paying respect to Sabbath’s extensive back catalogue.

From Cormier’s raw vocals to Landry’s outstanding guitar work, Bat Sabbath get the balance just right. They stay true to the original songs while adding enough of their own heavier edge to make them feel fresh. Whether you’ve loved Black Sabbath for years or you’re hearing these songs live for the first time, it’s hard not to get caught up in the atmosphere when they are played with such passion. War Pigs brings the main set to a fitting close, a song that remains just as relevant today as it was upon its release in 1970, with Cormier handing the opening verse over to the crowd before taking over himself.

The band soon return for an encore, dropping the Bat Sabbath personas as Cancer Bats. Cormier casually announces that a new album and tour are on the way before the band tear through one final song, a Cancer Bats track, giving the Sheffield crowd an unexpected bonus to end the night.

What began as a one-off festival idea has become one of Cancer Bats’ defining side projects, keeping Black Sabbath’s music alive for a new generation. It may never replace seeing Ozzy and co. themselves, but Bat Sabbath comes remarkably close to capturing the spirit, power and sheer fun that make those songs timeless.