Marilyn Manson has turned up in an unexpected place on May 1, 2026: a new Fences single called “Drugs Like You.” The song is the second single from Fences’ upcoming album Now She’s Long Gone Sun Squint, which is due out in June 2026. The track arrived as a folk/indie-leaning release rather than the kind of industrial blast many listeners would associate with Manson, making the pairing feel deliberate and offbeat in equal measure.
Theprp described the song as a “folky” new Fences track and noted that Manson is guesting on it, while also pointing out that the song title may raise eyebrows given that Manson has been vocal about his sobriety in recent years. Fences, meanwhile, framed the song in cryptic terms, saying, “Addiction moves in circles. The desert is a place for rumination. The touching of the stove. Massive coyote question marks and a near pop-psych ‘mirroring’ landscape. The only answer is that it is all the same. You must still scream ‘WHY’ even if no one answers.”
That statement gives the collaboration its mood: reflective, uneasy, and rooted in repetition rather than spectacle. This is not Manson barging into the room and taking over the song; it is a guest appearance on a track that already sounds like it is trying to stare directly at pain and confusion without dressing it up. The result is a strange, quiet detour for an artist whose name usually comes attached to shock, volume, and abrasion.
The release also fits into a busy stretch around Manson’s 2026 activity. Theprp’s related coverage shows that he has been active on tour in spring 2026, and that this collaboration arrived during a period when his name was already back in the conversation through live shows and anniversary plans. In other words, “Drugs Like You” is not an isolated one-off in a vacuum; it is part of a broader run where Manson has been reappearing in different forms.
For Fences, the song also helps set the tone for Now She’s Long Gone Sun Squint, which is due in June 2026. If the album’s rollout is being shaped by songs like “Drugs Like You,” then the record is leaning toward atmosphere, emotional discomfort, and lyrical ambiguity rather than easy answers. That makes the Manson feature even more striking, because it places him inside a song that feels inward-looking instead of theatrical.
The oddness is the point. “Drugs Like You” is not trying to sound like a headline grabber. It sounds like a song that wants to sit with its own unease, and Manson’s presence only sharpens that feeling. Quiet release, heavy subject matter, and a guest appearance nobody would have predicted — that is enough to make this one linger.
