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After spending a month in an ashram in Brazil—awakening with monks at dawn, delving into the Bhagavad Gita, and praying to a deity he had long rejected—Bring Me the Horizon’s Oli Sykes managed to outwit his first guru. Arriving at the retreat shortly after turning 34, Sykes was determined to cleanse himself and temper his ego, which had been inflated by the band’s soaring success metrics: Spotify listeners, festival slots, and album sales. The monks and gurus taught him that jealousy, competitiveness, and ego were his undoing, the root of all evil. So, when he saw a guru live-streaming a sermon and lamenting the lack of viewers, Sykes offered a reminder: “Remember what you told me. Whether you gain riches or nothing, you should remain unaffected. Keep your equilibrium.”

Now, outside a Los Angeles recording studio where he and his bandmates—guitarist Lee Malia, bassist Matt Kean, keyboardist-programmer Jordan Fish, and drummer Matt Nicholls—have been working on the second installment of their Post Human series for the past five weeks, Sykes recounts the story to Revolver. Clad in black with a velvety shag haircut and pale skin shimmering in the sun like ice, Sykes appears every bit the California vampire. Then there are the fangs. “I was getting some whitening treatment in Brazil and asked if they could give me fangs,” he says casually. “It doesn’t feel any different,” he adds, running his tongue along his sharpened canines, speaking softly in his Sheffield accent. His politeness is impeccable as if meeting a lover’s parents for the first time. He smiles nervously and often, displaying a mix of youthful demeanor and newfound maturity as if he’s developed a fresh sense of purpose and grace. He frequently sips from a large water bottle. Sykes is newly, contentedly sober—a man who can out-guru a guru and outpace his ego, even as his band edges toward global prominence and a revitalized era in rock music.

With chart-topping albums in the U.K., Grammy nominations, and a headline-making collaboration with Ed Sheeran, Bring Me the Horizon is nearly single-handedly reintegrating hard rock into the mainstream. Much like their Sheffield predecessors Def Leppard, BMTH have shifted from a purely metal sound to a more hook-driven style, transcending their subcultural niche for substantial commercial success and pop culture influence.

For the first time in over two decades, pop and hard rock are rebooting their symbiotic relationship. Pop stars are embracing the grotesque and gory, while metal bands experiment with EDM synths. BMTH is seizing the moment, as their “rawring” emo and post-hardcore aesthetic comes back into vogue. Although the pressure to capitalize on this moment might threaten to unsettle Sykes again, he is focused on evolving the relationship between metal and the mainstream.

“It’s rare to find a band that, as they become bigger and more mainstream, keeps the harder elements that made them successful in the first place,” Sykes notes. “That’s what we’re trying to do: maintain those extreme elements while pushing ourselves to evolve. Let’s keep the screaming, the breakdowns, and the fast drumming. Let’s see what happens if we make pop music but keep those elements intact.”

Bring Me The Horizon was formed in Sheffield, England, in early 2004, right at the dawn of the deathcore movement. They found themselves among peers like Job for a Cowboy and Suicide Silence, who were popular with Hot Topic fans. Sykes quickly distinguished himself not only with his powerful goblin-style screams but also with his quintessential mid-2000s alternative look: airbrushed skin, perfectly curved eyeliner, purple eyeshadow, and hair so straightened it seemed to still emit steam. His initial style icon? A girl from school who once told him he’d look better as a girl. “Since then, I’ve always liked feminine things,” Sykes says. “I’ve always wanted to look like a girl.”

By 2005, Sykes had become a poster boy for Myspace’s scene-kid movement. This popularity led to both success and scorn for the band. “We were an easy target,” Sykes reflects. “With the massive hair and makeup, we annoyed people who were small-minded.” Sykes was used to such hostility. Getting beaten up outside school gates had become a yearly tradition for bullies, and teachers were no better, disapproving of his eyebrow piercing, baggy jeans that hid his shoes, and toy gun belt buckle.

The band provided Sykes with his first sense of belonging and validation. Their debut album, Count Your Blessings, with its heavy breakdowns and sludge, quickly climbed Myspace’s “100 Most Listened To” chart. “I was still a teenager,” he recalls. “All my self-worth came from that kind of status, and that’s where I started craving it.”

Despite their rising fame, the band—most of whom were still under 18—struggled to take things seriously. “After recording Count Your Blessings, I remember listening to it in the car and being so blasé about it. I couldn’t understand why it resonated with people,” Sykes admits. Their early live shows were fueled by heavy drinking, with onstage vomiting being a frequent occurrence. The members were rarely sober, focused only on creating and performing the most intense party music possible—music to mosh to and wreak havoc. Teenage girls were drawn to them, and particularly to Oli. He attracted an unusually large female audience for a metal band, which made them an easy target for ridicule.

To their surprise, the band’s debut album achieved notable success. “We toured the world, won awards, and then thought, ‘Wow, what if we took this seriously and aimed to make great music?’” Sykes recalls. “That’s when we started pushing ourselves and striving to improve as musicians.”

In 2008, they released Suicide Season, which blended their deathcore origins with metalcore and anthemic, melodic hooks. This expansion marked the beginning of their exploration into a broader musical spectrum and emotional depth. The 2010 album There Is a Hell…, featuring electro-pop artist Lights, further broadened their horizons and hinted at their future eclectic, electro-influenced direction.

Throughout this period, Sykes struggled to distance himself from his ego, a journey he pursued through ketamine. Since his rise as a Myspace scene kid, he felt defined by public perception, leading him into a cycle of self-loathing. “When I was on harder drugs, I’d use substances to erase my name and meaning. It was extremely dissociative,” he explains. “It wasn’t about getting high or feeling good; it was about disconnecting from all the important things in the real world.”

After spending a month in rehab following the release of their third album, Sykes emerged ketamine-free. His journey to sobriety was reflected in their fourth album, Sempiternal, which saw the arrival of keyboardist Jordan Fish. This addition marked a significant shift in their sound, softening their metalcore elements and amplifying their electronic and pop influences. This change divided the band’s fanbase. “That really annoyed me,” Sykes admits, “but now I understand it. People have expectations. It’s like if you went to see a Fast and Furious movie and it suddenly turned into a rom-com—you’d be like, ‘What is this!’”

The band’s evolving sound garnered them critical acclaim and the Album of the Year award at the 2014 Alternative Press Music Awards. In a poignant speech, Sykes publicly addressed his ketamine addiction for the first time, telling the audience that after rehab, he “didn’t want to scream anymore, he wanted to sing from the fucking rooftops.” However, the recovery narrative wasn’t as straightforward as it appeared. “A few months later, I started drinking again,” he admits. “Even though I wasn’t on drugs and in that really bad place, I remained distracted.”

As this distracted state deepened into something darker, as reflected in the 2015 album That’s the Spirit, Sykes met his current wife, Brazilian model Alissa Salls. At that time, Sykes had just discovered his previous wife’s affair, and Alissa was in a similar situation. “It felt like if we had met at any other time, we might have missed each other,” he says. “It’s almost like we saved each other.”

In 2019, BMTH released Amo (Portuguese for “love”), an album that cost them hundreds of thousands of dollars to produce. This record was an unabashed homage to pop music, pushing the band into a highly melodic, ultra-hooky territory. “To be honest, I think we lost sight of what made us special and why people first fell in love with us,” Sykes reflects. “I’m much prouder to be in a rock band now than I was five years ago. Back then, I openly said rock music was dead.”

amo earned them two Grammy nominations and their first U.K. No. 1, but the rising status created a sense of imbalance for Sykes. He became consumed by the band’s statistics and data, with envy and ego threatening to undermine him.

When the pandemic hit, Sykes fell back into drug use. “Being alone every day, losing the band, not touring … once that all disappeared, I slowly drifted back to harder substances,” he says. “The world functions when it works, but when the virus disrupted everything, I realized that nothing works as it should. … And the same applies to me. My life functioned when it was in motion, but once it stopped, I didn’t know what my purpose was. … If I’m not Oli Sykes from Bring Me the Horizon, then who am I?”

The first time Sykes hit rock bottom, he didn’t have a steady partner; relationships came and went, and he felt less accountable. This time, he was five years into a marriage with the love of his life. They had a secluded retreat surrounded by forest and beach, a three-hour drive from São Paulo. Yet he reverted to heavy drug use in their shared home in the U.K. “For her, it was like I was cheating … because I was using drugs behind her back. She didn’t know initially, but when she found out, she’d never seen anything like it,” he says.

“I thought I was only hurting myself,” Sykes reflects. “But in recovery, talking to her and a therapist with her, I realized, ‘Damn, I’ve scarred her.’ It’s taken a long time to rebuild her trust. Whenever I go out, she worries that I might use drugs. It’s similar to someone who’s been cheated on; there’s always that lingering insecurity. Understanding that has been a wake-up call for me. I can’t go back to that; it’s not just harming me, it’s hurting others.”

This newfound awareness and fear of relapse are what keep him sober. “Looking back on all my near-death experiences—when I was so messed up I could have overdosed—I wonder, ‘How am I still alive? How am I not in prison?’ That fear motivates me to stay sober. It’s a miracle I’ve come this far, so I’m determined not to mess it up. I am resolutely committed to avoiding alcohol and drugs.”

Instead, Sykes channeled his energy into his music. In mid-2020, he and BMTH worked remotely with artists like Evanescence’s Amy Lee, BABYMETAL, Nova Twins, and Yungblud on their second U.K. No. 1 and a return to their metallic roots with the EP Post Human: Survival Horror. “[The title] reflects the idea that as humans, we’ve advanced so much that we’ve moved out of the food chain. If we can evolve to that extent, we can all strive to be better people. We shouldn’t succumb to our base impulses.”

Fighting against his impulses, Sykes has now been sober for over a year. Initially, it was challenging. “My therapist said, ‘You’re going to love recovery. … You haven’t even discovered the best parts of yourself yet,’” he shares. “At first, I thought, ‘I’ll probably use it again.’ But over time, you do start growing as a person.” For much of his life, his drinking and drug use had left him in an emotional stasis. “I was always down on myself and shy. I couldn’t even make phone calls or talk to strangers. Going to a shop was a huge ordeal for me. I had severe social anxiety,” he admits. “I wasn’t proud of myself either. Any awards we received, I’d just leave in a box. I’d never tell anyone I was in a band or look in a mirror. I was uncomfortable with everything.”

Gradually, things are beginning to change for Sykes. “I’ve been meeting new people, speaking up about my feelings, and standing up for myself,” he shares. “I’m slowly growing as a person and feel happier than I’ve ever been.”

The new album, the second part of the post-human quadrilogy, explores the parallels between global recovery and Sykes’ journey through addiction. “We started writing a song about humanity needing to unite to save the world,” he explains. “It began with the idea of ‘We’re just a room full of strangers,’ and I initially wrote it thinking it would sound great in a venue full of people. Then I reflected on rehab, where I felt like I was in a room with strangers, all lost and broken. It was striking how the lyrics about the world coming together resonated with those experiences of trying to heal.”

Is Post Human 2 finished? “No,” Sykes laughs. At the time of this interview, the only glimpse into the album is the single “DiE4u,” released last September. The track, which features the lyrics “You could slit my wrists/And I’d write your name in a heart with the hemorrhage,” was produced with Bloodpop, known for his work with Lady Gaga and Justin Bieber. The collaboration brought in several songwriters, who helped craft a chorus that neither Sykes nor Fish would have conceived on their own.

“Working with someone who handles the pop aspects while we focus on making it heavy was enjoyable,” Sykes says. “Collaboration is crucial for us. After so much isolation, we’re eager to be around people and create something vibrant.”

The collaboration with Ed Sheeran—an updated, metalized version of his hit single “Bad Habits,” performed live at February’s BRIT Awards and recorded with him—came about when Sheeran, a long-time fan, reached out to the band. “At first, we thought it might be a prank,” Fish recalls of Sheeran’s initial email. Sykes describes working with the pop star as “pretty mental,” but also “the perfect challenge.”

Sykes reveals that the upcoming EP will feature “loads of collaborations,” though he remains tight-lipped about the details. “We worked with a few people last week—artists on our hit list that we’ve wanted to collaborate with for a long time,” he says.

The EP’s delay isn’t just due to collaborations. “It’s taking longer because we’re aiming to do something different. We’re merging this emo, post-hardcore vibe with something more contemporary,” he explains. The band is striving to create a new genre—a blend of futuristic and nostalgic sounds. They’ve drawn inspiration from hyperpop, a genre known for its extreme, zany approach to pop music. “The hyperpop scene inspired me in a similar way to how we felt when we first started. It’s like a sugar-rushed version of metal and hardcore, pushing the sound to its limits,” Sykes notes. “We didn’t want to just mimic its style and come off as out-of-touch old guys. Instead, we aimed to capture that frantic, chaotic energy and integrate it just right.”

For the first time in his career, Sykes doesn’t feel like BMTH is on the verge of fading into obscurity. The band is selling out stadiums, topping charts, and receiving constant radio play, inspiring a new generation of fans. “Over the past few years, it feels like we’ve finally started to be celebrated,” he says. “I’ll post a song and a kid will reach out saying, ‘I fucking love your band.’ It’s incredible to see younger fans looking up to us. Their enthusiasm influences what we do, and we’re influenced by them in return. We feel a lot of love from the scene. It’s not that we feel older, but we do feel like proud dads now.”

As a “proud dad,” Sykes feels a new sense of responsibility. “I never understood when people said, ‘Your band saved my life,’ especially when I was a mess myself,” he admits. “But now I see it. I understand that a song can have a profound impact. Writing and singing these words can help others, and in turn, their responses help and affirm me. It’s a beautiful thing to know that something I create can make a difference, helping me feel less isolated and more connected.”

Instead of focusing on monthly listeners or stream counts, Sykes now prioritizes the personal connection his music can make. “It’s not about how big we get or how successful we are, but how much we can resonate with someone and offer them support. That’s what Bring Me the Horizon is truly about,” he says, finishing his water. He appears content and self-assured, having shed his ego and found a sense of balance.

Frequently Asked Question

What inspired Oli Sykes to pursue sobriety?

Oli Sykes sought sobriety after struggling with addiction and realizing the negative impact it had on his life and relationships. His journey to recovery began in earnest after he experienced significant personal and professional challenges, including a difficult period of substance abuse. The process of getting clean allowed him to reevaluate his life and his music.

How has Sykes’ approach to music changed since achieving sobriety?

Since becoming sober, Sykes has focused more on creating music that is deeply personal and meaningful. He emphasizes connection over commercial success, aiming to produce work that resonates with listeners on an emotional level. His approach now involves exploring new musical directions and collaborations while staying true to his artistic vision.

What is the concept behind Bring Me the Horizon’s new EP?

The upcoming EP is part of the post-human quadrilogy and explores themes of recovery and transformation. Sykes has described it as drawing parallels between global recovery and his journey through addiction. The band is working to merge emo and post-hardcore elements with modern sounds, inspired by genres like hyperpop to create a new, futuristic take on metal.

How has Sykes’ personal growth influenced the band’s music?

Sykes’ personal growth and self-discovery have significantly influenced the band’s music. He now prioritizes creating art that is authentic and impactful rather than simply aiming for commercial success. This shift is reflected in the band’s evolving sound and their focus on meaningful collaboration and innovation.

What role does collaboration play in the new EP?

Collaboration is a key element of the new EP. The band has worked with various artists and producers to bring fresh perspectives and sounds into their music. Sykes has expressed excitement about these collaborations, viewing them as a way to inject new energy and creativity into their work.

How has Sykes’ relationship with fans changed over time?

Sykes has developed a deeper connection with fans as he has grown both personally and professionally. He now values the impact of his music on listeners more than ever, finding fulfillment in knowing that his songs can offer support and inspiration. This evolving relationship with fans reflects his growth and the positive changes in his life.

What can fans expect from Bring Me the Horizon’s future projects?

Fans can expect continued evolution in Bring Me the Horizon’s music. The band is committed to pushing boundaries and exploring new sounds while maintaining the core elements that define their identity. Their future projects will likely feature more innovative collaborations and a blend of genres that reflect Sykes’ ongoing journey and artistic vision.

Conclusion

Bring Me the Horizon’s Oli Sykes has undergone a profound transformation, both personally and professionally. His hard-fought sobriety has redefined his approach to music, shifting his focus from commercial success to creating art that genuinely connects with listeners. This evolution is evident in the band’s upcoming EP, which aims to merge emo and post-hardcore elements with modern, futuristic sounds. Through meaningful collaborations and a renewed sense of purpose, Sykes and the band are redefining their music and reaffirming their commitment to their fans. As they continue to innovate and explore new musical directions, their work remains a testament to personal growth and artistic reinvention.