The music industry is still very much a “boy's club” where misogyny and sexual harassment are rife, a worrying new report has found. The Women and Equalities Committee, which holds the government to account on equality laws, has warned that musicians are forced to sit next to abusers at events due to a “culture of silence” that permeates the music industry. Former BBC Radio 1 DJ Annie Macmanus has also warned of an incoming "tidal wave" of revelations about sexual assault in the music industry.
Last year, GLAMOUR published the below investigation into the rife culture of abuse within the music industry and questioned whether it was finally having its #MeToo moment. A year or so on, and we are asking ourselves the same question once again.
This weekend, at the Sundance Film Festival, the first half of the documentary Phoenix Rising premiered. It follows the actress Evan Rachel Wood on her journey to becoming an activist against domestic and sexual abuse. Wood had long been vocal about her own experiences of emotional, psychological, physical and sexual abuse but it wasn't until February 2021 that she alleged that her abuser was the singer, Marilyn Manson (real name Brian Warner). Evan and Manson were in a relationship between 2006 and 2010, and briefly engaged for seven months until their relationship ended in August 2010.
Following her accusation, several other women added their own allegations and Manson was dropped by his record label, talent agency and manager. Lawyers for the singer have denied all claims and did not respond to enquiries made by the Phoenix Rising filmmakers – to date, no charges have been made and his position remains resolute that allegations were consensual or simply didn’t happen
And yet, just six months after Evan’s post, Manson appeared on stage as a special guest at a listening party for Kanye West’s album, Donda, on which Manson sings the line “Guess I’m going to jail tonight.”
'This should not still be allowed on YouTube, or circulating anywhere for that matter.'
Collaborating with one of the biggest artists on the planet just months after facing horrific allegations is indicative of the music industry’s unsavoury habit of enabling, ignoring and conveniently forgetting accusations of this kind.
After all, it took almost three decades for R. Kelly to fall from grace, despite his predilection for very young girls being such common knowledge that he was even asked about it on MTV. While Chris Brown’s extensive history of violence towards women did not prevent his last album from debuting at number one on the Billboard chart.
Because standing up against sexism is literally a matter of life and death.
Since the 2017 Weinstein scandal tore open a film industry rife with sexual discrimination, harassment and abuse, several other sectors have endured their so-called #MeToo moments.
The music industry has faced allegations, like the 2019 New York Times article of indie singer Ryan Adams, that saw him accused of a pattern of toxic and abusive behaviour towards young women whose careers he promised to advance, and former partners including ex-wife Mandy Moore.
After initially threatening the newspaper with legal action, Adams apologised to those he had hurt "however unintentionally" although did not address specific allegations. But compared to the reckoning seen in film and TV, there has not been the same wave of allegations and, as with Manson – despite civil cases pending – the door is rarely slammed as resolutely as it might be.
In part, it is because the music industry is all about the individual. If a Hollywood A-lister becomes damaged goods, the film industry wheel does not stop turning. Even if an actor is synonymous with a certain role or franchise, movies can be re-cast and re-edited. But the music industry is built on far more precarious pillars. A pop star is the centre of their own miniature economy of records, shows, merchandise and promotion. Without them, the entire brand is worthless.
At the heart of the #MeToo movement has been the debate over how to separate the art from the artist and it appears to be an even more difficult question in music. There are countless stories from the latter half of the 20th century of dubious, unethical and often illegal behaviour involving enormously famous musicians and often underage women. Like with so many incidents from the past, these things are often dismissed as having taken place in “a different time” in order that we can continue to enjoy the music.
The accepted construct of the “troubled genius” tells us that being brilliant comes hand in hand with being difficult, and even dangerous. Deeply ingrained groupie culture has allowed the rapture of teenage fandom – the screaming, the fainting, the homemade posters – to be manipulated and exploited. The mantra of “sex, drugs and rock and roll” has conditioned that great music is forged from outrageous, glamorous and scandalous behaviour.
The gulf in power between famous musicians and the fans that deify them is vast and nobody on the planet is as indulged and worshipped as a pop or rock star at the height of their fame.
For someone like Manson, who has cultivated a fervent fandom that has long been ready to defend their provocative idol, the careful construction of a persona or alter ego seemingly allows that person to behave in ways that would be deemed unacceptable in almost any sphere. But within the music industry, it is viewed as simply part of the act. When somebody’s image and career is built on – and celebrated for – pushing boundaries, that person might begin to believe that they are operating outside of the system.
The onus is still being placed on women.
There is no shortage of high profile cases like Wood’s. Lady Gaga was 19 years old when a male producer threatened to burn all her music unless she took her clothes off. He raped her, which resulted in a pregnancy, and years later she suffered a “total psychotic break” from the trauma. She has chosen not to name her attacker. There is Kesha, who was creatively trapped and in a seemingly endless legal battle with music producer, Dr Luke, the man she alleges raped and emotionally abused her. Dr Luke denies these allegations. The pair settled the defamation case in July 2023, saying only that it had been “resolved”.
In the UK, Lily Allen has bravely shared her experience of a record industry executive sexually assaulting her as she slept, and although she wanted to name the man in her memoir, she was advised against it by lawyers.
Given all of this, it feels likely that there is a cascade of stories yet to be heard, and they may well stay that way if men like Manson face so little consequence – despite the very serious allegations made against them. Perhaps this time, after Phoenix Rising airs, there will be no way back for Manson but the current state of affairs begs the question of how many watershed moments there need to be in the music industry. How many bombshells before the roof caves in?
The resources and helplines you need to know.
For more information about emotional abuse and domestic violence, you can call The Freephone National Domestic Abuse Helpline, run by Refuge on 0808 2000 247.
For more information about reporting and recovering from rape and sexual abuse, you can contact Rape Crisis.
