Marilyn Manson has been confirmed to support Slipknot at Wembley Stadium in front of 90,000 people next July, despite facing numerous allegations of sexual misconduct and abuse from over a dozen women. This booking contradicts heavy metal's foundational identity as a genre that champions the marginalised and uplifts the downtrodden—a value long championed by major acts such as Metallica and Judas Priest. For a genre that prides itself on standing against the mainstream and protecting the vulnerable, platforming an artist accused of such serious wrongdoing represents a profound betrayal of those principles.

Manson is far from the only musician in metal to have made a successful comeback despite serious allegations. The article examines a troubling pattern: Phil Anselmo faced backlash in 2016 for a white power salute but has since reunited Pantera to "much celebration"; Tim Lambesis, imprisoned for soliciting his ex-wife's murder, has rejoined As I Lay Dying, whose new single garnered 560,000 YouTube views in two weeks; and other controversial figures like Chris Brown and Kanye West are playing massive venues. The metal community appears uniquely lenient with problematic figures, allowing them to rebuild careers and gain significant streaming numbers whilst fans continue to support them.