Jack White Rejects Religious Scrutiny After Booking Satanic Doo-Wop Duo Twin Temple

The former White Stripes frontman says he’s “not scared of Satan” and distances himself from Catholicism, following a fan’s objection to his choice of Hollywood Palladium opener.

The question landed in Jack White’s social media mentions with the tone of a disappointed parishioner: how could a practicing Catholic promote a band tied to satanic imagery? The query referred to White’s invitation to Twin Temple—a self-described Satanic doo-wop duo—to open his September show at the Hollywood Palladium. His reply was swift and unambiguous. “I never claimed to be a practicing catholic or christian, you assumed that,” he wrote. “I’m not scared of Satan or any bullshit imagery man made up to live in fear of.”

The exchange pulls a line from his past into sharper focus. The White Stripes named their 2005 album Get Behind Me Satan, but White has now articulated a wholesale refusal of the faith he was raised in. His parents worked for the Detroit diocese; as a child he met Pope John Paul II and received a hug, and he once considered seminary. None of it, he made clear, defines him now.

The twin shadows of religion and performance were already threading through his current North American tour, which began Friday in Washington, D.C. in support of the new album Frozen Charlotte. The setlist featured “G.O.D And the Broken Ribs” and the 2024 track “Archbishop Harold Holmes”—a portrait of a traveling preacher promising cures in exchange for “a special financial blessing.” It’s a critique that has been public for some time, only now colliding with a live billing choice.

White’s invitation to Twin Temple arrived after the duo were removed from Charley Crockett’s tour. Crockett told Rolling Stone he thought they were like Black Sabbath but decided otherwise, summing up the reversal with “Not today, Satan.” He later addressed White directly in a post: “FUCK TRUMP FUCK EPSTEIN BUT HAIL SATAN? NOT ME JACK.” The clash illuminates a quiet fault line in roots-adjacent scenes, where stage symbolism can still trigger doctrinal reflexes. White, for his part, kept the focus on autonomy, advising his interlocutor to “commune with god on your own terms.” It was less a defense of Twin Temple than a dismissal of the whole frame.

Join the Club

Like this story? You’ll love our monthly newsletter.

Thank you for subscribing to the newsletter.

Oops. Something went wrong. Please try again later.

ROMBO Editorial Staff

ROMBO Editorial Staff

The collective voice behind ROMBO Magazine’s news, reviews, features, and cultural coverage.