Yungblud: The Future of Rock Still Burns Bright

In 1974, the music writer Jon Landau famously declared, “I saw rock and roll’s future and its name is Bruce Springsteen.” Landau went on to manage Springsteen and remains his manager to this day. Decades later, rock has struggled to produce anything of comparable resonance—until now. Dominic Harrison, better known by his stage name Yungblud, feels like a genuine heir to the lineage of rock. His recent collaborations with The Smashing Pumpkins and Aerosmith were more than guest appearances—they were ceremonial, a symbolic passing of the torch from one generation to the next.

At just 28, Yungblud has already outlived the infamous members of the 27 Club, including Kurt Cobain, Jimi Hendrix, Jim Morrison, Amy Winehouse, and Janis Joplin. Yet he performs with the confidence of Mick Jagger and Iggy Pop, the swagger of Billy Idol and Oasis, and the tacit endorsement of Ozzy Osbourne. Harrison wears his influences openly—just as The Rolling Stones once did with Muddy Waters, just as The Beatles did with Little Richard. His music traces a lineage that is both clear and alive, proving that rock endures through homage as much as innovation.

Yungblud has confronted the modern, disposable music industry head-on and declared, quite defiantly, “Enough of this.” He has reminded audiences what it feels like when rock is real again.

And then there’s the live experience.

Before a crowd exceeding 10,000 at Melbourne’s Sidney Myer Music Bowl, Yungblud sustains a rare, intimate connection with the audience. He feels not just present but essential. The songs themselves hold up under the scrutiny of time—especially the closing track, “Zombie”, which would have been a classic in any era of rock.

The night opened with “Hello Heaven, Hello”, a bold statement of intent that immediately seized the crowd. Production was cinematic without excess: pyrotechnics, confetti, smoke, and fire punctuated the performance, yet never overshadowed the music. Early highlights included “The Funeral” and “Idols Pt. I”, while a tender, stripped-back rendition of Black Sabbath’s “Changes” served as a moving tribute to Ozzy Osbourne. Melbourne-specific moments, such as “Monday Murder”, delighted fans familiar with Harrison’s history in the city, recalling his debut in 2018 at a modest 50-person venue.

Comparing 2018’s Yungblud at the Corner Hotel to the 2026 incarnation reveals an artist transformed. Creative growth has accelerated from the experimental Weird era to the confident anthems of Idols (2025), hinting at yet further leaps in the future.

Music cycles, and periodically, someone shakes the tree hard enough to demand attention once more. For rock, Yungblud is that rare force—arguably the most exhilarating since Nirvana. For younger fans in attendance, he represents an artist whose 50th anniversary tour will still be worth seeing.

Rock is far from dead. Not while Yungblud stands on stage.