Marilyn Manson Returns to Boston with Blood, Snow, and Thunder at the House of Blues.
It wasn’t just a concert — it was a resurrection.
MARILYN MANSON stormed back into Boston’s House of Blues (currently known as Citizens House of Blues) like a gothic godfather reclaiming his altar. The room was beyond packed — shoulder to shoulder, boot to boot, black lace clashing with leather jackets in a tightly wound pit of anticipation. The sweat was already dripping before the lights even dropped, and yet no one seemed to care. We were all there for the same reason: to feel something sharp, loud, and unforgettable.
The curtain stayed drawn, but a sickly green light started pulsing behind it. A low hum bled into the room, like an electric prayer. Then came the sound — low and ominous at first, like something bubbling up from a haunted basement. It got heavier. The green turned blood red. The tension climbed. Then, all at once, it dropped.
Manson emerged — no delay, no ceremony. Just impact. The Antichrist Superstar himself, boots hitting the stage like a war drum, launching full-throttle into “Disposable Teens.” The crowd exploded. It wasn’t just noise; it was a roar — primal, unified, almost spiritual. You could feel it in your ribs.
His voice? As dangerous and commanding as it ever was. His presence? Still that eerie blend of preacher and predator. Between verses, he paused to acknowledge the city: “Boston… I missed you. And they won’t take you away from me.” Each time he said it, the room got louder. Fans shrieked, fists shot up, people climbed on each other’s shoulders like they were trying to reach him physically.
At several points in the show, in a perfectly grotesque Manson flourish, he’d grab a crisp tour shirt from the stage setup, wipe the sweat from his face and chest with it like it was a communion cloth — then fling it into the sea of hands with a smirk. It wasn’t just merch at that point. It was a souvenir soaked in madness, and fans clawed for it like it meant salvation.
The setlist played like a requiem for the old world — each track crashing harder than the last. “The Beautiful People” turned the floor into a writhing sea of bodies, and “mOBSCENE” brought out the chaos with such force it almost tore the walls off. Crowd surfers popped up like popcorn, riding waves of hands and howling like lunatics.
But Manson’s not just about chaos — he’s about control. He wielded the atmosphere like a weapon, tightening and releasing with perfect timing. Energy? It never dipped. Not once. Even the walls were sweating.
And just when it felt like we’d hit the limit, the encore delivered the sucker punch. Fake snow — pure white, cascading down like ash — poured across the stage as Manson drifted into a haunting, theatrical version of “Coma White.” It was strange, beautiful, and totally unhinged.
Then — the real surprise. With a wry smile and a devilish glint, he launched into a cover of Phil Collins’ “In the Air Tonight.” Darker, slower, and more menacing than ever. That iconic drum break? It hit like a sledgehammer to the chest. The whole place lost it.
In a world obsessed with reinvention, Manson doesn’t have to change — he just has to show up. And when he does, it’s not just a concert. It’s a ritual.
Boston will be feeling this one for a long time.
Setlist
Nod If You Understand
Disposable Teens
Get Your Gunn
Tourniquet
This Is the New Shit
Sacrilegious
The Nobodies
Say10
mOBSCENE
Long Hard Road Out of Hell
The Dope Show
As Sick as the Secrets Within
Sweet Dreams (Are Made of This) (Eurythmics cover)
The Beautiful People
Encore:
In the Air Tonight (Phil Collins cover)
Encore 2:
Coma White One Assassination Under God
Band members Marilyn Manson – lead vocals
Tyler Bates – guitars, keyboards, backing vocals
Reba Meyers – guitars, backing vocals
Piggy D. – bass, backing vocals
Gil Sharone – drums
I curse at their holy symbols… I laugh as they pray…
As we’re reaching the end of 2022, let’s all make a lot of noise together with our last metal lady of the year in the name of rock and metal music, sounds good? And when I say a lot of noise, I mean A LOT OF noise, because our metallic diva this month of December is undoubtedly one of the most talented drummers of the current Death and Thrash Metal scene, hammering her drums mercilessly for our total delight wherever she goes. I’m talking about the talented and charismatic Luana Dametto, the unrelenting drummer for Brazilian Death/Thrash Metal horde Crypta, and also known for her work with the bands Nervosa, Chaos Rising and Apophizys. Having said that, are you ready to know more about such unstoppable lady of the extreme music scene?
Born on November 22, 1996 in Tapejara, a municipality in the state of Rio Grande do Sul, Brazil, Luana started her path in the world of music at the young age of 12 when she already began to play drums, later joining her very first band, Passo Fundo, Brazil-based Death Metal act Apophizys, at the age of 16. That’s exactly when she discovered her passion for Death Metal, and from there it was just a matter of time until she joined Brazilian Thrash Metal ladies Nervosa back in 2016. However, before becoming part of Nervosa, Luana studied Graphic Design at UPF – Universidade de Passo Fundo in Brazil in order to build a career in this field while still working as a musician in her spare time until the age of 19, which turned out to be very useful for her as she actually applied her studies into her passion for heavy music, being responsible for the artwork for the first (and only) full-length album by Apophizys.
Speaking about Apophizys, our metal lady was part of the band between 2012 and 2017, when the band split up, having recorded with them the album Into the Chaos back in 2015, which included some excellent songs such as Fear of the Unknown and Carnage (and you can enjoy a nice drum cam recorded by Luana herself for this song by clicking HERE). In one of her interviews, Luana explained exactly how she made it to Apophizys, saying that in the city of Passo Fundo there were two Death Metal bands, one formed by brothers who wouldn’t allow her to join the band, and the aforementioned Apophizys. She said Apophizys already had a drummer at that time, but Luana didn’t give up and stayed tuned to them hoping their drummer would leave the band, opening the so much needed spot for her. As you might already know, that worked, and Luana kicked some ass behind her drums with Apophizys for six years before joining Nervosa.
Luana was still in college when Nervosa’s founder and guitarist Prika Amaral added her on Facebook and contacted her for an audition (being referred by Brazilian drummer Eduardo Lane of NervoChaos, who had already toured with Apophizys before), as at that time Nervosa had just lost their previous drummer Pitchu Ferraz. She then travelled to the city of São Paulo, passed the test, and went on to start playing live with the band that same year and to record the band’s 2018 opus Downfall of Mankind. From such intense album, you can enjoy amazing songs the likes of Kill The Silence and Never Forget, Never Repeat (and there’s also a kick-ass drum cam for this song HERE). After the album release, she traveled and toured a lot around the world, playing at several big festivals and, therefore, turning music into her main occupation. In addition, Luana also recorded with Nervosa the single Freakshow, originally released on the Adult Swim metal compilation 2 in 2019. It was in 2020 when Luana parted ways with Nervosa, saying that the main reason for her departure was the fact that the three girls at that time felt there was no more passion for doing music together. There wasn’t any type of fighting or arguing, and she said they could have even continued with the band as is, but they all agreed they had to change something to reignite that passion and love for extreme music.
The seed for what’s known today as Crypta had already been planted before she left Nervosa, more specifically in June 2019, as a new musical project by Luana together with Fernanda Lira, also from Nervosa. As the co-founder of the band, she said the focus would be on playing Death Metal in a way that could not be done with Nervosa, inviting Dutch guitarist Sonia Anubis (of Burning Witches) to the band and later also adding Brazilian guitarist Tainá Bergamaschi (of Hagbard) to their lineup. After consolidating the band members, they started working on their debut effort Echoes of the Soul, released in 2021, and you can have an absolute blast to the sound of such incendiary album to the sound of songs such as From The Ashes, Dark Night Of The Soul and Kali (check out another awesome drum cam for this song HERE). Furthermore, earlier this year the band released the single I Resign (which also has a really cool drum cam video that can be watched HERE), once again presenting the visceral and heavy elements that are characteristic of their sound. Moreover, if live concerts are your cup of tea, you can find Luana pounding her drums in great fashion in several live videos of the band including From The Ashes live at Wacken Open Air 2022, and a 30-minute performance at Espaço Som studio in São Paulo, Brazil in November 2021.
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Apart from Crypta, Nervosa and Apophizys, you can also find Luana smashing her drums since 2021 with Chaos Rising, a collaborative international project focused on different subgenres of heavy music open to every female artist interested in metal that includes members from Brazil, France, Germany, England, Sweden, Hungary, Russia, Iran and Argentina, among others. She recorded with Chaos Rising in 2021 the single Cost of Inaction alongside Swiss vocalist Alessia Mercado (Burning Flesh, Murge), French guitarist Stéphanie Nolf (Unsafe), Italian guitarist Francesca Mancini (Sudden Death), and German bassist Tina Gruschwitz (Demorphed, Cryoblood), and the final result is a bestial Death and Thrash Metal attack that will please all fans of extreme music. In addition, Luana was also a guest drummer in the 2016 EP Souls Dragged into the Abyss of Torment, by Brazilian Melodic Black/Death Metal act Isfet, also working in the recording of the album. If you want to listen to Luana playing a more demonic, blackened style of music, you can enjoy for example what’s perhaps the best song of the album, Perennial Pain Domain.
Regarding her idols and influences, Luana mentioned that she’s a huge fan of Thrash, Black and in special Death Metal, and that she began playing drums influenced by Joey Jordison (RIP) of Slipknot and Vinnie Paul (RIP) of Pantera, learning a lot about double bass and groove by listening to and watching them. She also mentioned Kerim “Krimh” Lechner of Decapitated and Derek Roddy of Hate Eternal as influences on the way she does her blast beats, complementing by saying that playing drums was actually a random thing that happened to her, as she was only 11 years old when she got in touch with a friend who played drums who led her to get her own set and begin playing. Not sure if her setup is still the same, but a few years ago she was using a 14″ Color Sound 900 Black Heavy Hi-Hat, a 16″ Color Sound 900 Black Heavy Crash, a 17″ Color Sound 900 Black Heavy Crash, a 18″ 2002 Giga Bell Ride “Psychoctopus”, and a 16″ Color Sound 900 Black China.
Speaking about her life on the road, although Luana might still be a very young drummer, she has already been to several different parts of the world including of course most regions in Brazil, the United States, Colombia, many countries across Europe and Asia (even recommending Singaporean Grindcore act Wormrot as one of her favorite bands of the region), and even the United Arab Emirates together with Nervosa and now Crypta. She mentioned Rock in Rio in Brazil and Altavoz Fest in Colombia as the most memorable concerts so far in her career, saying that Altavoz Fest is some sort of “Rock in Rio Colombia” where she played in front of over 30,000 people. Moreover, when asked which bands she enjoyed the most to play alongside, our dauntless drummer mentioned Havok (Brazil), Warbringer (United States) and Venom Inc. (England) as her favorite bands to tour together. There are some very interesting interviews with Luana on YouTube (most of them in Portuguese, though) where she talks about not only her touring experience but also about what’s next for Crypta, their music and so on, such as this one to a podcast named TUPFS, this one to Revista Freak, and this one to Hedflow.
There’s also another excellent interview to a podcast named Music Hero where she talks about being a woman in the extreme metal scene, and that’s how we’ll conclude this humble tribute to her. As a prominent female drummer in the world of heavy music, Luana thinks the scene is still ruled by men and that there’s a lot of sexism everywhere, saying she feels extremely disappointed when people treat her as if she knows less about her instrument than guys just because she’s a woman. Her advice to other women who are starting their careers in music is to focus on your work and ignore all the negativity that might come from some people, only doing what you truly feel comfortable doing. When asked about her favorite female metal musicians, Luana listed Canadian drummer Justine Éthier (Karkaos, Blackguard), Dutch vocalist Simone “Som” Pluijmers (Your Chance to Die, Lacerated, Cerebral Bore), and American vocalist Reba Meyers (Pray for Teeth) as the best for her, and just by mentioning only names from the underground scene we can see how much Luana is passionate about it. Hence, if you also love the underground extreme scene, you must go check what Luana and the other girls from Crypta are doing and, of course, stay tuned for when the band takes your city by storm with their pulverizing live performance, with Luana proving that you don’t need to be a big guy to powerfully smash your drums in the name of extreme music.
It wasn’t just a concert — it was a resurrection.
THE HEADBANGING MOOSE 