"There's a lot of things that go on when you're on tour that cannot be controlled. I'm not even talking about myself, but of course there's sexual activity and drugs, fighting and language; it is certainly not a place to raise a family"

Life on tour, as described by Peter Steele, is depicted as an unpredictable and often chaotic experience. The environment is shaped by constant movement, irregular schedules, and exposure to various temptations and distractions. Beyond the individual performer, the tour ecosystem includes road crews, managers, fans, and a host of other personalities, each contributing to the overall atmosphere of instability. The lack of control Steele references points to both event logistics, delays, cancellations, venue changes, and human behavior.

Substances such as drugs and alcohol are frequently available and have historically been part of the music scene, amplifying impulsive decisions and sometimes fueling rivalries and confrontations. Sexual activity is abundant, not just among performers, but throughout the tour entourage, often driven by the thrill of the lifestyle and the adulation of fans. This exposure to hedonism becomes normalized, almost expected, within on-tour culture. The reference to fighting and language highlights the volatility and intense emotions present. Tempers can flare in high-pressure environments, leading to aggressive exchanges and sometimes violence, both verbal and physical.

All these elements combine to create a world that is exhilarating yet volatile, fundamentally at odds with traditional notions of stability and safety. Steele’s assertion that touring is “certainly not a place to raise a family” underscores his recognition of the incompatibility between this roiling lifestyle and the needs of children for consistency and protection. The tour’s transient nature means relationships are fleeting, privacy is scarce, and the guidance structures necessary for a nurturing family environment are lacking. This reflection demonstrates a sober self-awareness, implying regret or at least acceptance that the demands of a rock musician’s professional life often preclude the fulfillment of familial obligations, or the possibility of shielding loved ones from the excesses and dangers of the road.