Dead Posey set the tone with urgency and attitude
The concert started right on time. The clock struck 8:30 p.m. and the trio Dead Posey took the stage at Campo Pequeno for a solid and convincing performance.
The American rock band, founded in Los Angeles, California, by vocalist Danyell Souza and guitarist/multi-instrumentalist Tony Fagenson, also known as Tony Nova, former drummer of Eve 6, made its debut in Portugal in what was the last concert of the One Assassination Under God tour.
With only half an hour to show what they were worth, vocalist Danyell led Dead Posey in a fast, incisive performance, full of irreverence. Over the course of the short thirty minutes, the trio opened the concert with “sorry i’m not dead” and brought with them songs such as ‘Zombies’ and “She Went Bad.” Halfway through, the band surprised the audience with a convincing cover of “Blue Monday” by the giants of English electronic music, Depeche Mode.
Moving quickly towards the end, frontwoman Danyell came closer to the fans while the band played “Darkside” and “Scar.” After the Depeche Mode cover, the second best moment of the concert came with “Welcome to the Nightmare,” the 2024 single that pushed Dead Posey even further into the limelight.
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Marilyn Manson returns to Lisbon amid controversy and reaffirmation
After seven years away from the stage in Portugal, since his last performance in 2018, Marilyn Manson was in Lisbon last night with a concert that marked both a reunion with the local audience and a crucial moment in his return to the artistic scene after a long period of controversy and allegations of abuse and harassment — issues that have profoundly impacted the last few years of his career.
The venue attracted a wide variety of people, including former metalheads from the 1990s, goth fans, alternative youth, industrial rock nostalgics, and regular visitors to the fetish scene. Despite the differences between generations and styles, the audience found cohesion in the same musical devotion, united around the great figure of the American artist, whom many still call the true “black priest” of rock.
A reconfigured band for a new chapter
At exactly 9:30 p.m., Manson took the stage accompanied by a band with some changes. Notable were the returns of drummer Gil Sharone and guitarist Tyler Bates, both returning in 2024, as well as the remarkable debut of Reba Meyers (Code Orange), the first woman to join Manson’s band, on guitar. The lineup was completed by Piggy D. on bass, an artist renowned for his collaboration with Wednesday 13 and Rob Zombie.
The tour, which stops in Lisbon, serves primarily to present the latest album, One Assassination Under God, which is widely represented in the lineup. This new material was interspersed with songs from two of the most iconic works in his catalog, Antichrist Superstar (1996) and Mechanical Animals (1998), in a deliberate choice that completely excluded the albums released between 2007 and 2024 — an artistic period now left out of both the narrative and the stage.
The concert opened with the recorded introduction “Sacrifice Of The Mass,” followed by “Nod If You Understand” and “Disposable Teens,” establishing an atmosphere of continuous intensity early on. Over the course of more than an hour and a half, the setlist covered classics such as “Angel With the Scabbed Wings,” “The Dope Show,” “mOBSCENE,” and the unavoidable “The Beautiful People,” always balanced with new compositions such as “One Assassination Under God,” “Sacrilegious,” and “As Sick as the Secrets Within.”
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Throughout the performance, Manson maintained a constant relationship with the audience, in a posture that was both defiant and emotionally accessible. The words addressed to the fans, the prolonged glances at the audience, and the physical commitment in each performance reinforced a clear desire for closeness, underlining the almost confessional nature of this return to the stage.
Physically and vocally, the artist was in remarkable form. Sober and energetically present, he dispensed with the theatrical excesses that had defined his image for decades. The performance was based on intense physical expressiveness: contortions, theatrical gestures, exaggerated facial expressions, screams, and harsh vocalizations that transformed each song into a small ceremony of collective catharsis. Without resorting to visual shock, his presence completely dominated the room.
The stage design matched this restraint: illuminated inverted crosses, artificial fog, and a bare stage focused all attention on the musical performance. The minimalist approach proved effective in highlighting the raw power of the show and the absolute prominence of the performance.
The sound remained heavy and aggressive from start to finish, with Reba Meyers adding extra muscle to the guitars and Piggy D. standing out on bass during “Sweet Dreams,” the famous Eurythmics song that became one of the highlights of the night. In this song, the line separating the stage and the audience was almost completely blurred: the audience sang in unison, sometimes drowning out the band itself, until Manson reassumed total dominance in the final climax, screaming the last verses with visceral intensity.
The encore brought “Tourniquet,” accompanied by stage props of large claws and mechanical legs, followed by a second return to the stage for “Coma White,” enveloped in an effect of falling artificial “snow” that ended the show in a dreamlike atmosphere. After the band’s final exit, Phil Collins’ “In the Air Tonight” echoed from the speakers as a symbolic farewell.
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A night of communion and artistic reaffirmation
In the end, the night in Lisbon was a triumphant artistic return for Marilyn Manson to Portugal. More than just a reunion with fans, the concert served as a ritual of creative reaffirmation: an intense, engaging, and relevant show, in which the musician regained his status as a top-tier performer, now less dependent on aesthetic provocation and more anchored in the power of his performance and direct connection with his audience — a continuous communion that ran throughout the concert and confirmed that, for many, the figure of the “Antichrist Superstar” remains firmly on his cultural altar.
Photos & Text: Filipe Gomes
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