01/03/2026
Heavy-metal concerts arenāt typically bastions of progressivismābut in the mosh pit, a savage empathy abides, James Parker reports.
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āHeavy metal, of all music, knows just how sick we are. Just how pinned down by depression, addiction, insanity, technology, the machine of society and the thumb of God,ā Parker writes. āMetal has been telling us thisāgleefully, monstrouslyāsince Ozzy Osbourne first sang, āBack on Earth, the flame of life burns low / Everywhere is misery and woe.ā Itās a message that never goes out of style. But right now in Americaāwhat with the digital splatteration, the black-hole subjectivity, and the goon squad crouched in a van behind Dunkināāit has, shall we say, an especial piquancy.ā
On a hot autumn night in Worcester, Massachusetts, Parker attended the New England Metal and Hardcore Festival, which consists of 25 bands on three stages and 10 unbroken hours of heavy music. All day, he watched the mosh pit: the area close to the stage where inflamed dancers whirl and collide. āLike America, the pit is just barely a democracy,ā Parker writes. āBut you need youth, and you need strength: Itās no country for old men.ā
āThere are big boys throwing their weight around, and there are wild skinnies with flying arms and spinning back-kicks, chopping out their emergency version of personal space. There are cheerful barging amateurs, happy to be bounced about, and there are prowling malevolences, waiting for the moment to blindside someone or chuck an elbow in their face. There is the occasional fearless woman,ā Parker writes. āAnd hereās something interesting. The amount of fights, bloody noses, chest-to-chest confrontations, bouncer interventions I spot at Metalfest: zero. A self-policing environment, to a remarkable degree.ā
āIāve been watching it, and skulking around it journalistically, because I am possessed by an idea,ā Parker writes: āWhat if the pit, this ritualized maelstrom at the heart of the hardcore-metal crowd, could teach us something about how to live together ⦠about how to be?ā
šø: Bill Tompkins / Getty