We invite chapters for a multi-disciplinary edited collection exploring heavy metal and rock bands that use concealed identities, stage personas and masks as a substantial part of their performance and aesthetic. Hidden identities are not a new phenomenon in either popular music generally or heavy metal/hard rock music more narrowly, as performers obscuring their identity through face paint, masks, and wigs goes back over half a century and encompasses bands including Kiss, Slipknot, and Gwar. New masked bands, including Sleep Token and Ghost, have recently risen to widespread popularity. There are also exciting examples of masked bands working in more niche environments, including the death metal comics band Belzebubs and the environmentally-focused Botanist. 

Certainly, the use of masks and face paint has long functioned within metal bands as a mechanism to obscure the identities of performers and enhance the visual aesthetic of a group or performer. However, many bands play with identity for a variety of different reasons. Some bands use their concealed identities to draw attention to political issues or to make social statements. The utilization of masks can also allow for the de-emphasis of the individual performers and identities in service to aesthetics or theatrics of the band. Some performers may feel their altered identities promote a more collective view of the music and performance. Many performers in these groups have spoken on how concealed identities allow  performers to separate themselves and their personalities from that of the character. We also see bands change and evolve these personas as albums change, which changes in visual representation sometimes being used to usher in a new era for the band. Some bands use masks to generate lore that invites fans to engage with the band in novel ways. Finally, perhaps more now than ever, it becomes increasingly difficult for performers to maintain a separation between their personal life and their performance. A masked persona creates an opportunity for musicians to take agency over how and when their non-performance identities are shared. Although true anonymity is uncommon and often impossible due to audience speculation, legal troubles, and overt stalking, masked performers can maintain some degree of privacy, in some cases, maintaining a normal life and allowing for the separation of stage persona from their private self in a way that other mainstream artists may find impossible. Of course, this invites us to further consider the action of “unmasking,” whether it is done as a mechanism of publicity or against the wishes of the band.

We welcome proposals on a variety of topics related to hidden identities in heavy metal and hard rock music, included but certainly not limited to: 

• How do these personas become a way to think through other types of masking and identity play? 
• How do personas allow bands to challenge norms and ideals, including but not limited to those related to gender and masculinity?
• How does lore function for these bands and the personas they create? 
• How do audiences interpret or respond to the personas? 
• How does “unmasking” work? When it is done by the band themselves? When it is done against the band’s wishes?  
• Why do artists choose to mask and/or unmask?
• How do hidden identities create narrative opportunities for performers and fans? 
• How do masked bands function in a larger metal environment? How are they similar or different from other kinds of performance play?
• What is the history of masked performers in heavy metal and hard rock, and how does this history influence contemporary bands?
• What is the role of playfulness in heavy metal and hard rock music, and how do hidden identities invite playfulness?
• How do bands with hidden identities use intertextuality, paratext, and other media as part of their performance and band identity? 

As editors, we want to acknowledge that metal music remains difficult to categorize and define, with some listeners attempting to come up with definitions based on lyrics, virtuosity, thematic content, and inspiration drawn from influential bands within the genre. Many listeners apply a more laissez-faire mechanism of definition, taking the same approach as Supreme Court Justice Potter in the 1964 Jacobellis v. Ohio case of  “I know it when I see it”.  

We invite interested parties to submit a proposal that includes: a 500 word abstract, 5 citations that will guide the chapter, and a 50-80 word author bio. We expect final chapters to be 6,000-7,000 words (including references). Please send proposals to hiddenidentitiesmetalbook@gmail.com.  

Tentative Collection Timeline

• Proposals Due: Deadline Extended to September 15, 2025
• Acceptance Notifications: October 1, 2025 
• Full Chapters Due: January 15, 2025

This collection is currently under contract with McFarland Press as part of the Studies in Heavy Metal Music and Culture series. We invite potential contributors to check out our Spotify playlist for inspiration.