Marilyn Manson「One Assassination Under God Tour」(Icónica Santalucía Sevilla Fest)
On July 6, 2026, Marilyn Manson performed at Plaza de España in Seville as part of Icónica Santalucía Sevilla Fest. Before getting into the concert itself, it is worth taking a moment to look at the setting. Icónica has managed to turn one of the city’s most recognizable spaces into a regular venue for major concerts, but seeing a bright or festive show there is one thing. Seeing Marilyn Manson appear among crosses, shadows and red lights is something else entirely.
Plaza de España, with its monumental architecture and almost postcard-like image, created an obvious contrast with Manson’s universe. That tension worked in the concert’s favor from the very beginning. The stage did not need too much extra scenery for the image to have impact. The space itself already carried enormous visual weight.
Before his entrance, VOWWS were in charge of opening the night. Their dark, electronic sound worked as a natural prelude to Marilyn Manson’s concert, setting the mood without breaking the aesthetic that would take over Plaza de España only a few minutes later.
A few minutes before the show began, the atmosphere started to build with Bauhaus’ Bela Lugosi’s Dead playing over the PA. For many Manson fans, the choice did not go unnoticed. It was not just any song to fill the waiting time, but a reference that fit perfectly with the tone of the night.
When the background music ended, phones started rising all across the floor.
The intro tape was already starting, and the crosses on stage lit up in pale blue tones, giving the stage a colder feeling. On a hot Seville night, that first change in lighting already shifted the atmosphere before the band had even appeared.
At exactly 10:30 p.m., the concert began.
Nod If You Understand was the first song. The opening guitar riffs came with cheers from the audience, and a good part of the crowd moved forward to see Manson up close. The crosses turned red, and the stage suddenly gained intensity. Manson appeared in the outfit from this tour, moving with that mix of control and theatricality that means he does not need too many gestures to command attention.
Although it is a track from his latest album, it did not feel like a new song placed at the beginning out of obligation. The distinctive bass, the way the tension was built and Manson’s presence made it fit naturally with the rest of the set.
It has something current, but also a texture that could belong to another period of his career. That was one of the things that became clear from the start. Manson still has a recognizable sound, even when he is not relying directly on his classics.
With Disposable Teens, Seville fully entered the concert. The chorus was sung with force, and when the song ended, the first really loud screams of the night arrived. Manson addressed the crowd with an “I fucking love you” and celebrated being back in Spain. It was not a long speech, but it was enough to lift a Plaza that was already completely inside the show even higher.
The contrast with the surroundings remained powerful. Seeing a song like Disposable Teens in the middle of Plaza de España, among red lights and inverted crosses, had something strange and attractive about it. The night was beginning to create its own image.
Then Manson shouted “Seville” and announced that he had something for us “from 1996”.
With that phrase came Angel With the Scabbed Wings. The chords pulled the crowd deeper into the darker, more classic side of the concert. The sound was clean and very defined, with that feeling of a live performance many fans had watched for years in old videos, imagining what it would be like to have him right in front of them. Not even in Seville — seeing him in Spain at all already felt unreal.
Before the chorus, the crowd’s clapping blended into the instrumental until it almost felt like part of the song. It was not just simple accompaniment. The audience became part of the song, and the band left enough space for that response to be felt without losing strength.
Great Big White World changed the rhythm of the night. Manson asked the crowd to move their arms, and Plaza de España responded. The lighting shifted to lighter tones, with a less aggressive feeling that allowed the show to breathe after the opening songs. The guitar solo cooled down the atmosphere and gave the concert a more atmospheric moment, without breaking the tension that had already been created.
The calm did not last long. “Are you motherfuckers ready?” was the introduction to This Is the New Shit. For many people in the audience, this song belongs to a very specific time. Those who discovered Manson in the 2000s feel it almost like a personal anthem. With the crosses in red, the image of the Antichrist once again took over the center of the stage.
At first, part of the audience seemed more stunned than unleashed. Even though it is one of his most energetic and well-known songs, there were people simply watching, as if they were still processing the fact that they were seeing Marilyn Manson in Seville. But when the chorus arrived, everything changed. The Plaza began shouting the lyrics with so much force that, at times, the crowd almost sounded louder than Manson himself. The song ended with him moving toward the guitarist to underline the final hit of the riff, before receiving another wave of applause and cheers.
With Exit Wound, the lighting once again played an important role. The lights seemed to fall against the rhythm of the track, and for several moments only the crosses stood out. Manson and the band became almost silhouettes, letting the music and the lighting take control of the scene. In the final section, the stage lit up with more force and the song ended in a much more direct explosion.
Then came one of the most special moments of the night.
Manson addressed the crowd again.
“Seville!”
“Seville, I can’t hear you!!!”
He then explained that, the first time they tried to destroy him, that song had been written for him and for us. It was The Nobodies.
The song carried a different emotional weight from the rest of the concert. It was not the most violent or the most explosive track, but it was one of the ones that connected best with the crowd. The ovation at the end was the longest up to that point.
After The Nobodies, Manson disappeared from the stage while the band continued with Diary of a Dope Fiend. The piece worked as a transition before the next change. It was not dead time. Quite the opposite: it kept the dark mood alive while the audience waited for his return.
Before starting, he asked in English how many people wanted to get “high” that night, and finished by saying that the good news was that he was our drug that night. The lights went down and the song began.
The Dope Show had that touch of decadent elegance that has always defined the song. Manson did not need to move too much to sell the scene. The jacket, the attitude and the way he sang were enough to give the song its own space within the concert.
Then came Sweet Dreams (Are Made of This). The Eurythmics cover is now an inseparable part of Manson’s history, to the point that, for many metal fans, his version ended up becoming even more iconic than the original. The stage returned to blue tones, and the first line was sung by the Plaza with enormous force.
Many phones went up to record the moment, but the opposite was also visible. When a song truly belongs to a generation, some people prefer to put their phone away and sing it with everything they have. That detail said a lot. It was not just a famous song in the setlist. It was one of those songs people had come to live.
For mOBSCENE, Manson appeared with the hat characteristic of that era. He let the crowd sing at the beginning before fully entering the song. Red once again dominated the scene, and the track became one of the highest points of the night. The whole band helped with the backing vocals, reinforcing the chorus and giving the whole performance more force.
The Plaza responded with enormous intensity. Manson seemed to enjoy that exchange, letting the crowd take part of the spotlight without losing control of the stage. It was one of the moments where it was most obvious that the concert had fully taken off and there was no turning back.
Then he asked:
“Seville, do you want more?”
The ovation was immediate.
“Do you want???”
And then came the line everyone was waiting for:
“We are THE beautiful people”.
If mOBSCENE had set the bar high, The Beautiful People pushed it even higher. From the press area, you could feel the ground vibrating with the rhythm of the song and the crowd’s reaction. The riff was received as what it is: one of the most recognizable of his entire career. The chorus was sung by the whole Plaza, while Manson enjoyed the moment, making air-guitar gestures and letting the audience carry part of the song.
When it ended, he took off the military-style hat and left the stage while the band continued to keep the crowd fired up. The screams, whistles and applause immediately demanded his return. Less than a minute passed before he came back.
The first encore was Tourniquet. Manson came out elevated on tall crutches, with an image closely tied to the classic aesthetic of the song. Being above the stage made his figure look more imposing, almost like a dark god looking down from above. It was one of the most visual moments of the entire concert.
Tourniquet worked precisely because of that blend of song and staging. It was not just about hearing a classic. It was about seeing it recover part of its original image live, with carefully measured theatricality and no need to overdo it.
The stage darkened again for the second encore. Manson returned with Personal Jesus, his well-known Depeche Mode cover. The most direct part for long-time fans had been saved for the encore, and the closing had exactly the strength it needed.
The red lighting covered Plaza de España and left a very powerful final image. After a night marked by crosses, shadows, classics and provocation, Personal Jesus closed the concert like one last scene of dark liturgy. As if all the sins invoked throughout the night had made sense there, in that moment.
Marilyn Manson offered Seville an intense, well-measured concert with a visual production that worked especially well in Plaza de España. The setlist combined recent songs, deep cuts for long-time fans, generational anthems and covers that are already part of his identity. It did not need to be overly long for the night to leave a mark.
For a little over an hour, Plaza de España stopped being just an illuminated monument in Seville. With the crosses lit up, red light covering the stage and Manson at the front, the venue ended up becoming one of the hardest images to forget from this edition of Icónica.
📸: @mauribuhigas.foto @niccolo_guasti_photo
Setlist
Marilyn Manson
One Assassination Under God Tour
Icónica Santalucía Sevilla Fest
Plaza de España, Seville, Spain
- Nod If You Understand
- Disposable Teens
- Angel With the Scabbed Wings
- Great Big White World
- This Is the New Shit
- Dried Up, Tied and Dead to the World
- Exit Wound
- The Nobodies
- Diary of a Dope Fiend
- The Dope Show
- Sweet Dreams (Are Made of This)
Eurythmics cover - mOBSCENE
- The Beautiful People
Encore
- Tourniquet
Second Encore
- Personal Jesus
Depeche Mode cover
