AJ Rebollo’s Exit from Bad Wolves: How a Dolly Parton Cover Sparked a Band’s Unraveling The heavy metal world lost one

# **AJ Rebollo’s Exit from Bad Wolves: How a Dolly Parton Cover Sparked a Band’s Unraveling** The heavy metal world lost one of its most polarizing figures this week when Bad Wolves guitarist AJ Rebollo announced his departure from the band, . The catalyst?

A controversial cover of Dolly Parton’s *Jolene*—a song the band had planned to release with the country legend’s vocals, only to push forward without her after her death.

Rebollo’s scathing resignation letter, posted just days after Parton’s passing, laid bare a band fractured by internal strife, a label’s heavy-handed decisions, and a fanbase increasingly exhausted by its own contradictions.

This wasn’t just another lineup shuffle; it was the collapse of a group that had already weathered multiple breakups, public backlash, and a history of capitalizing on tragedy for commercial gain. What makes Rebollo’s exit particularly explosive is the timing.

The *Jolene* cover wasn’t just a misstep—it was the latest in a pattern of decisions that have left Bad Wolves isolated, both within the industry and among its own members.

The band had telegraphed the track as recently as Friday, even as its musicians privately opposed it, arguing that releasing a heavy metal version of Parton’s iconic ballad—especially without her involvement—would be seen as exploitative.

Instead of heeding their concerns, the label, Better Noise Music, moved forward, framing the release as a charitable gesture (proceeds would benefit Parton’s Imagination Library). But for Rebollo, the optics were undeniable: a band profiting from a legend’s death, again.

This isn’t the first time Bad Wolves has faced scrutiny for its handling of posthumous collaborations. In 2018, the band released a cover of *Zombie* by The Cranberries—without Dolores O’Riordan’s vocals—just days after her death.

That song became a breakout hit, topping charts and going three-times platinum, but the timing was widely criticized as tone-deaf. Now, with Rebollo’s departure, the band’s instability is more apparent than ever.

Since its formation in 2014, Bad Wolves has cycled through multiple singers and guitarists, with original frontman Tommy Vext leaving in 2021, followed by guitarist Doc Coyle and bassist Kyle Konkiel in 2025.

The latest lineup shift came earlier this year, when singer Sara “Killboy” Skinner joined—only to immediately face a storm of online harassment after false claims surfaced that she was a “trans OnlyFans b—h,” leading to her removal from Skillet’s upcoming tour.

The band’s ability to maintain cohesion, let alone relevance, now hangs by a thread. --- ## **A History of Controversy: From *Zombie* to *Jolene*** Bad Wolves has always walked a fine line between metal’s rebellious roots and mainstream appeal, but its most infamous moments have come when tragedy intersects with commerce.

The *Zombie* cover remains the most infamous example—a song that, in the hands of a different band, might have been a respectful tribute, but which Bad Wolves turned into a chart-topping single.

The Cranberries’ *Zombie* was a haunting elegy for Northern Ireland’s Troubles; Bad Wolves’ version, with its soaring choruses and stripped-down production, felt more like a power ballad than a memorial. Fans and critics alike were divided: some praised the band’s audacity, others called it ghoulish.

The backlash didn’t stop the song from climbing the charts, but it did plant the seeds of Bad Wolves’ reputation as a group willing to monetize sorrow. This week’s *Jolene* controversy follows the same script, though with a different emotional weight.

Parton’s death on August 30th was met with global mourning; her music, particularly *Jolene*, is woven into the fabric of American culture. Bad Wolves’ decision to release a metal cover—without her blessing, without her voice—felt like a calculated move, even if the label framed it as philanthropy.

Rebollo’s statement made it clear that the band’s internal opposition was ignored. “We told the label we had no interest in releasing the cover after learning of Dolly’s passing,” he wrote.

“They went ahead and posted that we were releasing it anyway, despite efforts from more than one member, myself included, to oppose it.” The disconnect between the band’s creative vision and the label’s commercial priorities has become unsustainable.

For a group that prides itself on authenticity, this feels like a betrayal. What’s striking is how quickly Bad Wolves has become a case study in how not to handle a posthumous project.

The *Zombie* controversy was bad; the *Jolene* situation is worse because it involves a cultural icon whose legacy is still fresh. The band’s history of lineup changes—with singers and musicians coming and going—has left it without a stable identity.

Original frontman Tommy Vext’s departure in 2021 was a turning point, signaling that the band’s early momentum was fading. His replacement, Daniel “DL” Laskiewicz, lasted less than a year before joining Falling in Reverse, leaving the group in flux.

Now, with Skinner’s brief tenure already marred by online harassment, Bad Wolves risks becoming a footnote in metal history—a band that peaked too soon and then unraveled under its own weight. --- ## **What People Are Saying: Fan Outrage and Industry Skepticism** The reaction to Rebollo’s departure and the *Jolene* cover has been swift and overwhelmingly negative.

On social media, fans who once championed Bad Wolves as underdogs now accuse the band of being “vultures.” The hashtag **#BadWolvesExploit** trended briefly, with critics pointing out the hypocrisy of a group that markets itself as rebellious yet repeatedly engages in what feels like corporate exploitation.

Some fans, however, remain defensive, arguing that the *Jolene* proceeds going to charity softens the blow. But for many, the issue isn’t just the money—it’s the lack of respect.

“They didn’t just drop the ball,” one longtime listener wrote on a metal forum. “They kicked it into the grave with Dolly still in it.” Industry observers are equally critical.

Metal journalists who once gave Bad Wolves the benefit of the doubt now question whether the band has any long-term viability. “This isn’t just about one song,” said one veteran reporter.

“It’s about a pattern of decisions that show the label calling the shots, not the artists. When musicians start quitting over creative control, that’s a red flag.” The comparison to The Cranberries’ *Zombie* cover is inevitable, but this time, the backlash feels more personal.

Parton’s death was still raw when the announcement dropped, and fans aren’t buying the “charity angle” as an excuse. “If they really cared, they would’ve pulled the song,” said another fan.

“Instead, they doubled down.” There’s also the matter of Bad Wolves’ shifting identity. The band’s early success was built on a mix of hard rock and metal, with Vext’s charismatic vocals and Rebollo’s guitar work giving it a distinctive sound.

But as the lineup changed, so did the direction. Skinner’s arrival this year marked another pivot—one that some fans see as a desperate attempt to stay relevant.

The online harassment she faced, fueled by misinformation, only accelerated her exit from the Skillet tour. Now, with Rebollo gone, the band is down to its core members, but without a clear path forward.

The question isn’t just whether Bad Wolves can survive this scandal—it’s whether it ever had a real identity to begin with. --- ## **What Happens Next: A Band at the Crossroads** Bad Wolves is now in uncharted territory.

With Rebollo out, the band’s future hangs on whether the remaining members can regroup—or if this is the beginning of the end. The *Jolene* cover is set to drop on Monday, but without Rebollo’s involvement, its reception will likely be chilly.

The charity angle may soften some criticism, but the damage to the band’s reputation is already done. Better Noise Music, which has bet heavily on Bad Wolves, now faces the challenge of keeping the project afloat without its most vocal guitarist.

If the label’s decisions continue to alienate the band’s creative core, more departures could follow. For Skinner, the situation is even more precarious.

Her brief tenure has been marked by controversy, from the false allegations about her personal life to the band’s latest misstep. If she stays, she’ll need to navigate not just fan backlash but also the fallout from Rebollo’s exit.

The band’s next steps—whether it’s recording new material or even performing—will be closely watched. Given the instability of its lineup, it’s possible that Bad Wolves could dissolve entirely, leaving its remaining members to pursue other projects.

Rebollo, for one, has already signaled his disillusionment. “The amount of hate, negativity, and harassment we receive on a daily basis due to decisions made outside of our control has taken a massive toll on our sanity,” he wrote.

If that’s the case for him, it’s likely others feel the same. The bigger question is what this means for metal as a whole.

Bad Wolves has always been a lightning rod—a band that pushes boundaries but often stumbles in execution. Its story reflects broader tensions in modern music: the clash between artistic integrity and commercial pressure, the exploitation of tragedy for profit, and the toll of constant reinvention.

For now, the band is a cautionary tale. But whether it fades into obscurity or reinvents itself remains to be seen.

One thing is certain: the metal world won’t soon forget how Bad Wolves turned *Jolene* into its own swan song. --- The exit of AJ Rebollo isn’t just the end of a chapter for Bad Wolves—it’s the end of an era.

What began as a promising metal act has devolved into a series of missteps, from *Zombie* to *Jolene*, each one eroding what little trust remained. The band’s legacy may now be defined not by its music, but by how it handled its moments of silence.