The Tour That Should Never Have Been

Let’s set the stage: the metal scene, that hideout where visceral hatred and unbridled energy manifest musically… and apparently, also in off-stage behaviors. This time, we’re witnessing how two bands decide to hop on the train of infamy together. The most unusual combo of the moment: Decapitated and As I Lay Dying. What a duo!

But before applauding the “epic” nature of this announcement, let’s recall what each band brings with them. No, we’re not talking about sweaty mosh pits and heavy breakdowns. We’re talking about aggressors, about guys who have more stains than a hooligan’s shirt during a derby.

Decapitated: “Innocent! Because we say so, of course.”

Let’s start with Decapitated, a Polish band that found itself in the eye of the storm due to a sexual assault case that occurred in 2017 in the United States. What did they do? Ah, the usual: claim innocence. A classic. They have more excuses than a corrupt politician! They were accused of kidnapping and sexually assaulting a woman after a concert in Spokane, Washington. And this wasn’t a light accusation; there was an investigation, arrests, a trial… the whole story.

What was the outcome? The victim, fed up with receiving death threats (because, of course, in this crappy scene, there are always “fans” willing to do anything for their idols), decided not to pursue the case. And that’s it; case closed. “They let us go, so we are innocent!” Sure, as if a lack of conviction is synonymous with purity. Just because they didn’t end up in jail doesn’t change the facts: a woman accused them of assaulting her, and she dropped the case out of fear, not because the justice system proved her a liar (as far as we know, the justice system didn’t prove her a liar, but we know that for these guys, the presumption of innocence is only for their fellow mates in bands). But for them, the story ended there. They continue their career, and nothing happened. Clean as the waters of the Nile (but in flood season).

Tim Lambesis: “Oops, I tried to kill my wife. But hey, I apologized, right?”

Then there’s the lovable Tim Lambesis, the leader of As I Lay Dying, who decided that the most metal thing he could do in his life wasn’t to compose a powerful album but to try to hire a hitman to kill his wife. What could be more epic than that?! No, sorry, that’s not metal; that’s pure gender-based violence. Lambesis was arrested in 2013 after attempting to hire an undercover police officer to do the dirty work. He pleaded guilty, served his sentence, and upon release, gave us his best “I’ve changed” face. You know, a little apology here, an emotional interview there, and voilà! Back to the stages. As if nothing happened. Because, of course, in the world of metal, apparently all it takes is a “sorry” to reset everything and return to normal.

Has Lambesis really changed? That remains to be seen, but what is clear is that his return to music was almost immediate. Because, as we all know, nothing says “I’ve learned from my mistakes” like rushing to set up another international tour. Because the show must go on, and who cares about the safety of women who might be in the audience or even in the working teams. They’ll surely feel very comfortable knowing that a guy who tried to kill his wife is leading the band they’re going to see.

The Circus of Quick Forgiveness: No Consequences?

What really stinks in this whole situation is the speed with which these bands return to normalcy. There are no real consequences, no reflection, no systemic changes in the music industry. Just a brief scandal and then everything goes back to routine.

And that, dear audience, is extremely dangerous. What message are we sending to people who have suffered from machismo violence when we allow these individuals to have a stage, a microphone, and a massive platform? The message is clear: “It doesn’t matter what you did, as long as you keep making money for the promoters and fill venues, everything is forgiven.” Well, I’m sorry, but that’s not the kind of scene we should be supporting.

The absence of serious consequences for this type of act creates a space where aggressors continue to enjoy power, fame, and followers, while survivors are relegated to oblivion or, worse, discouraged from seeking justice out of fear of retaliation or threats. And let’s not kid ourselves: the culture that allows this kind of impunity is the same that fosters a constant atmosphere of insecurity for women.

The Promoters: What Are They Thinking?

Let’s talk about the promoters of the tour, those masterminds behind this announced disaster. What happened here? Were there not enough bands without a criminal history available? Was it really necessary to join two bands with histories of sexist violence under the same circus tent? The role of promoters here is key, because they are the ones who decide whom to give visibility to, whom to give space to, and whom to put on stage.

And this is where the social responsibility of the industry comes into play. Programming an event is not simply about putting together famous names and waiting for the cash register to ring. You need to think about the community you’re selling that show to. Because, sure, enjoying metal is one thing, but telling your female audience that aggressors are welcome and have a privileged place on stage is quite another. After all, the “legal troubles” don’t matter when there’s money involved, right?

The Safety of Women: Always a Priority

It’s evident that there is a brutal disconnection between the industry’s responsibility and the safety of women. Victims of gender-based violence should not have to share spaces with their aggressors, much less in an environment where they are glorified and applauded for their music. What message is sent when we allow guys like Lambesis and the members of Decapitated to take the stage as if nothing had happened? That women don’t matter. That their experiences don’t matter. That men’s entertainment is more valuable than the safety and integrity of women.

It’s time for both the industry and music fans to take an active role in rejecting this type of behavior. This is not about being puritanical; it’s about understanding that there’s a clear line between art and abuse. And when someone crosses that line, there must be real consequences. A quick apology is not enough; pretending nothing happened is not sufficient.

The Audience is Also Complicit

Now, it’s not just the promoters who bear responsibility. Fans have it too. If we buy tickets to see these bands, if we continue to support them, then we are part of the problem. When you applaud someone with a history of aggression, you’re legitimizing that behavior. And yes, I know that music is important, that there are artists who mean a lot to us. But if we allow our passion for music to cloud our moral judgment, then we are perpetuating a culture of impunity.

The Need for Conscious Programming

We cannot underestimate the importance of having conscious programming in the music industry. Tours must be safe spaces for all attendees, and that includes ensuring that the artists who take the stage are not individuals who have committed acts of violence or abuse. It’s simple: if you have been an aggressor, you do not deserve a public space until there is a real and tangible change in your behavior. This shouldn’t be hard to understand.

And yet, here we are, talking about how the Decapitated and As I Lay Dying tour was announced as if nothing happened. As if we had no memory. As if it didn’t matter. But it does matter. It matters a lot.

Conclusion: No, Thanks. We Don’t Need This Tour.

In summary: this tour should never have been announced. Period. The backgrounds of these bands speak for themselves, and allowing them to continue performing without consequences is a slap in the face to all those fighting for a safer, more inclusive, and fairer music scene. The responsibility lies with the promoters, the fans, and the industry as a whole to say NO to the glorification of aggressors. It’s time to make a real change and stop normalizing violence.