In 2024, along with 20,000 others, I attended a sold-out metal show in Manchester. Unlike most concerts at the Co-op Live Arena, however, none of us in the packed-out venue knew who we were actually seeing. The band was Sleep Token – a masked and anonymous collective formed in London in 2016, now selling out arenas across the UK and the US with their distinctive blend of progressive metal, indie pop and trap.

A few months later, I stood among thousands to watch the Swedish band Ghost, famous for dressing as a satanic clergy led by their masked frontman Papa Emeritus. Their show was an extravagant parody of religion. Theirs was an entirely different performance of concealment from Sleep Token, but one just as emotionally charged.

Then, earlier this year, I found myself in a concert hall on the outskirts of Antwerp, Belgium. In a room filled with billowing smoke and illuminated only by the snap of strobe lighting and a single candelabra, I watched the death-metal outfit Dragged into Sunlight thrash and shriek through their gloriously misanthropic album Hatred for Mankind. Once again, I had absolutely no idea what they looked like.

Read more: Heavy metal's bad rep is unfair – it can actually have numerous health benefits for fans

In a cultural moment where visibility in popular music is at its zenith – where all eyes and screens fixate on Taylor Swift’s Eras tour or Oasis’s long-awaited reunion – something interesting is happening in the metal scene. Metal musicians are refusing to reveal their identities, names and faces, or (in the case of Dragged into Sunlight)........

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