Metal: Where Girlfriends Have No Names
Ah, the eternal saga of the «girlfriend of»! In the wonderful universe of metal, where everything boils down to crushing riffs and growls, there’s a phenomenon that surpasses even the length of the most epic guitar solos: the glorious art of turning women into accessories for their male partners. Seriously, if you’ve ever wondered why, in metal and in life in general, the female partner of a man involved in the scene seems to magically lose her identity and become «the girlfriend of,» keep reading. Brace yourself for a dose of metal reality: raw, direct, and with a sharp edge. And no, this isn’t just a tantrum about female representation (although it could be, and with every right).
Imagine the scene: metal festival, hellish heat, liters of spilled beer, and a band that just blew up the stage. The drummer steps down, the bassist follows, and in the corner, there they are: the girlfriends and wives of the band members. Some are hardcore fans, others are active in the industry, but in most cases, their identity evaporates into the air like a fading guitar solo. Why? Because instead of being seen as individuals with their own stories and achievements, they become an appendage to the guy playing the drums, the guitar, or producing the records. It’s as if in metal, women only exist in relation to the man they’re with.
Where does this dynamic come from? Well, for starters, it’s nothing new. Since time immemorial, women have been primarily viewed in relation to men. In ancient times, if a woman wasn’t a wife or mother, her existence was almost irrelevant. As we moved through history, while things changed a bit, the underlying mentality remains the same: a woman’s worth is often measured by her relationship with a man. Instead of being seen as protagonists of their own stories, they become accessories to their partners’ narratives.
Patriarchy, that ancient institution that refuses to die, has had ample time to weave its threads into the fabric of our culture. Since ancient times, women have been relegated to secondary roles. Whether as a king’s wife or a hero’s mother, a woman’s value has often been determined by her relationship with an important man. Although we’ve made some progress since those times, the mentality remains entrenched. Instead of celebrating women for their own merits and achievements, they are still viewed through the lens of their male relationships.
In the world of metal, this dynamic is perpetuated in an especially farcical way. Here we have metal bands, those that self-identify as rebellious and disruptive, yet often cling to old stereotypes with the same devotion they show to their electric guitars. The gender view in metal can be as archaic as lyrics about epic battles and Nordic mythology. And, unfortunately, instead of challenging these old patterns, metal often perpetuate them, as if the loud and provocative nature of the music justifies keeping women in secondary roles.
This phenomenon of turning women into «the girlfriend of» or «the wife of» is not a mere slip. It is a manifestation of a culture that still prefers to keep women in a subordinate role. The «girlfriend of» narrative is a way of saying that their identity is not relevant by itself, that the only thing that matters is their connection to the man in the spotlight. This view excludes women from being seen as active agents in the music scene. It’s as if the only way to have relevance in metal is to be part of the male context. If a woman is involved, she must be like an ornament, an accessory to the star of the show.
The underlying sexism in this dynamic is as stubborn as high-end amplifiers. Patriarchal structures are like a heavy layer of rust that doesn’t come off easily. Old stereotypes and anachronistic attitudes remain present, even in contexts that claim to be revolutionary. Metal might seem like a state of freedom and challenge, but it remains embedded in a gender view that confines women to being mere decorations for the men they’re with.
So, why does this happen? Well, the answer isn’t that complicated: because sexism is so well camouflaged under the guise of the «rebellious rocker» that no one questions it. Metal, as much as it boasts of going against the norms, has inherited heaps of patriarchal structures without even blinking. Guys continue to be the rockstars, and girls, even if they are equally passionate fans or even more, are secondary. Or worse, decorative. And don’t even get me started on those who actually try to make a name for themselves in the scene, because then hell doubles down. If they’re artists, producers, whatever, besides facing the usual sexist bullshit, they also have to endure constant comparisons or questions about their partners. Because, of course, as if their achievements weren’t enough.
The fundamental issue here is that, until this dynamic is recognized and challenged, women will continue to be seen through the lens of their male relationships. A woman’s identity should not be defined by her connection to a man, whether in metal or any other field. Women in the scene have names, achievements, and passions of their own. They should be recognized for their individual contributions and not for their relationship with someone in the spotlight.
So, in conclusion, the next time you find yourself at a metal festival and see a woman described as «the girlfriend of» or «the wife of,» remember that this is not a mere question of labels. It is a reflection of a culture that still hasn’t learned to see women as complete and independent beings. If metal wants to be truly subversive and revolutionary, it must start by challenging these old stereotypes and recognizing women as the protagonists they truly are. Because, in the end, the true act of rebellion isn’t smashing a guitar on stage, but breaking the chains of sexism that still bind us.
