A renewed wave of scrutiny has emerged across the entertainment industry following the release of court documents connected to the late financier Jeffrey Epstein, with several female artists publicly severing themselves from entertainment executive Casey Wasserman after his name appeared in the files.
The documents, made public as part of a broader disclosure linked to Epstein’s criminal network, include email correspondence between Wasserman and Ghislaine Maxwell, who was convicted in 2021 on charges related to Epstein’s sex trafficking activities. Although the emails themselves do not allege criminal conduct by Wasserman, he has denied any personal or professional involvement with Epstein, stating that he regrets the correspondence and condemns Epstein’s actions.
Nevertheless, the disclosures have prompted strong reactions from artists represented by Wasserman-led organisations, with several women using social media to voice concerns about accountability and values within the music and entertainment industries.
On 6 February, Bethany Cosentino, frontwoman of Best Coast, called for the mogul to “step down” from the music and sports representation powerhouse he founded and has run since 2002 in an open letter posted on Instagram.
Cosentino continued: “We are demanding for Wasserman to remove himself and his name from the agency.” Her statement was shortly joined by that of Karly Hartzman, lead singer of the band Wednesday, who wrote that “continuing to be represented by a company led by and named after Casey Wasserman goes against our values and cannot continue”.
Within hours several other high-profile artists emerged announcing severance with Wasserman, among them pop artist Chappell Roan, who announced that she had ended her professional relationship with Wasserman’s agency. In a statement shared with fans, Roan said she could not “passively stand by” and stressed the importance of working with representation that reflects her personal and ethical standards. Her decision was widely shared online and sparked broader discussion around power, responsibility and trust in artist-management relationships.
Other musicians and bands have soon followed, with additional statements expressing vehement discomfort with any proximity to Wasserman and his related businesses. While some artists formally cut ties, others issued calls for transparency, arguing that the moment should prompt wider conversations about leadership and safeguarding within the industry.
The controversy has extended beyond music, in part due to Wasserman’s high-profile role as chairman of the organising committee for the 2028 Los Angeles Olympics. His involvement has drawn attention from campaigners and public figures who argue that those in prominent leadership positions should be held to heightened ethical scrutiny, even in the absence of formal accusations.
As the fallout continues, the situation highlights the intersection between reputational risk, public trust and moral duty in the contemporary entertainment landscape. While the legal implications currently remain unchanged, the responses from artists underline a growing willingness to speak publicly and act decisively when values appear misaligned, signalling a cultural shift in how power and accountability are negotiated within the creative industries, that so often operate to silence female artists in particular.