Ah, gatekeeping—nothing screams “elitism” louder in the metal and goth communities than this insidious practice. If you’ve spent more than five minutes lurking in metal or goth circles, you’ve likely encountered it. It’s that attitude where people believe they can decide who’s “real” enough to be part of the scene, based on superficial criteria like band knowledge, clothing choices, or how “hardcore” your lifestyle appears.
Gatekeeping in the Metal and Goth Communities
And let’s be blunt—gatekeeping is not just petty; it’s toxic. It strangles the growth and diversity of our beloved subcultures. But what’s worse? No one likes to talk about it openly, because calling out gatekeepers in these scenes is like lighting a match in a powder keg. So, buckle up, because this is going to piss some people off, and that’s exactly what we need.
What is Gatekeeping in Metal and Goth?
Gatekeeping is essentially the practice of policing the boundaries of a subculture. In the metal and goth communities, gatekeepers are those who feel they own the keys to what’s “authentic” or “real” within the scene. And they’re not shy about pointing out who doesn’t meet their standards. You’ve seen them—the ones scoffing at someone wearing a mainstream band’s T-shirt, or those who ask “but do you really listen to them?” when someone mentions a well-known band.
But here’s the thing—why does this even exist? Both metal and goth were born out of rebellion against societal norms. So, why the hell are we trying to enforce new rules within a community that’s supposed to be about freedom of expression?
The Elitism Problem: Metal Edition
The metal scene has always had a bit of an elitism issue. It’s one of those ugly realities we tend to sweep under the rug. There’s this unwritten rule that to be a “true” metalhead, you need to know the most obscure bands, wear the most brutal T-shirts, and have an encyclopedic knowledge of subgenres. If you’re just into bands like Metallica, Iron Maiden, or Black Sabbath, well, you’re a “poser,” right?
Wrong. And honestly, what an absurd mentality to have. Metal thrives because it’s accessible to anyone who resonates with its sound and its message. The idea that you need to “earn” your place by being “cult enough” is nothing more than gatekeeping BS that diminishes the spirit of the genre. Yet, there are always gatekeepers who’ll sneer at you if you don’t have Venom’s Welcome to Hell vinyl or if you don’t think Deathspell Omega is the epitome of black metal.
Look, no one’s denying that deep cuts and obscure bands are awesome. But to use your knowledge as a weapon to exclude others? That’s elitism disguised as fandom. And if you think your scene needs to be kept “pure,” congratulations—you’ve officially forgotten what made metal revolutionary in the first place.
Goth Gatekeepers: Dressed in Black and Full of Judgment
It’s not just metal that suffers from gatekeeping. The goth scene is no stranger to this, either. Oh, you love The Cure, Bauhaus, and Siouxsie and the Banshees? That’s adorable, but according to goth gatekeepers, if you haven’t moved beyond the mainstream into lesser-known acts like Christian Death or Virgin Prunes, you’re not really goth.
The gatekeepers of goth love to hold the scene hostage with their checklists of what’s “authentic.” If you don’t dress a certain way—preferably in some extravagant dark Victorian attire—or listen exclusively to obscure deathrock or post-punk, you’re just “mall goth.” Heaven forbid you like something outside the goth spectrum! If you’re caught listening to synthwave or gasp pop music, well, you’ve apparently betrayed the sacred goth commandments.
This kind of gatekeeping sucks the life out of a scene that was built on rejecting mainstream culture. Goth, much like metal, is about self-expression, often formed as a reaction to societal expectations. So when did we decide to adopt our own narrow expectations and police who can or cannot be a part of the community?
Why Gatekeeping is Toxic
Gatekeeping is a cancer to subcultures because it kills curiosity and stifles participation. How can scenes that pride themselves on rebellion and individualism grow if they’re full of people too busy judging each other? The more you make the scene exclusive, the smaller and less diverse it becomes. And let’s face it, exclusivity leads to stagnation. The same bands, the same ideas, the same looks—it all becomes one big circle jerk of gatekeepers patting themselves on the back for being more “authentic” than the next person.
You know who suffers the most from gatekeeping? Newcomers. We’ve all been there—new to a scene, trying to figure out what it’s all about. But instead of welcoming these fresh faces, gatekeepers treat them with condescension or outright hostility. This isn’t just a “get off my lawn” attitude—it’s actively driving people away from a culture that, in theory, should be inclusive of all outsiders.
Metal and Goth Have Always Been Fluid
Both metal and goth have evolved. What was considered goth in the 80s is different from what goth looks like today. Metal, too, has splintered into countless subgenres, from blackened death metal to folk metal to avant-garde metal. Scenes change, and they need to. No one wants to be stuck in the same endless loop of Iron Maiden knock-offs or Sisters of Mercy wannabes.
Gatekeeping assumes that metal and goth are static, unchangeable entities. But that’s never been the case. We should be embracing the next generation of goths, metalheads, and even the hybrid goth-metal kids who mix and match influences. When you build walls, you limit creativity. When you tear them down, new, innovative things can emerge.
The Irony: Gatekeepers Think They’re Protecting the Scene
Here’s where it gets interesting. Most gatekeepers believe they’re doing the scene a service by “protecting” it from posers or people who “don’t get it.” But what they don’t realize is that they’re doing more damage than any mainstream appropriation ever could. Scenes like metal and goth are supposed to thrive on being different, on embracing the fringes, not shrinking into cliques of elitists who can’t handle the idea of someone enjoying both My Chemical Romance and Dissection.
Gatekeeping isn’t saving the scene. It’s making it weaker, more insular, and less relevant. If you care about your subculture, the best thing you can do is encourage diversity, innovation, and open-mindedness. Every person who walks away from metal or goth because they weren’t “enough” is a loss, not just for them, but for all of us.
Conclusion, Gatekeeping in the Metal and Goth Communities: Tear Down the Walls
In the end, gatekeeping is nothing but insecurity dressed up as fandom. It’s time we start calling it out for what it is—a desperate need to control who gets to enjoy what we enjoy. But here’s a wake-up call: neither metal nor goth belongs to anyone. These are scenes born from rebellion, from the need to be different and express ourselves without fear of judgment. So why are we letting judgmental gatekeepers ruin the very thing that brought us all here in the first place?
If we want metal and goth to thrive, we need to burn these gates down. Stop caring if someone’s playlist has more mainstream bands than obscure ones. Stop gatekeeping people because they haven’t been around as long as you. Let’s return to the roots of these subcultures—embracing the outcasts, the weirdos, and the newcomers. Otherwise, we’re no better than the mainstream cultures we once sought to escape.
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Let’s tear down these walls together. 🤘
