{"id":63053,"date":"2026-04-22T14:18:30","date_gmt":"2026-04-22T14:18:30","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2026\/04\/22\/the-music-industrys-unfinished-metoo-fight\/"},"modified":"2026-04-22T14:18:30","modified_gmt":"2026-04-22T14:18:30","slug":"the-music-industrys-unfinished-metoo-fight","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2026\/04\/22\/the-music-industrys-unfinished-metoo-fight\/","title":{"rendered":"The Music Industry’s Unfinished #MeToo Fight"},"content":{"rendered":"


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\n\tApril is Sexual Assault Awareness Month, and I\u2019m writing this open letter not to call anyone out, but to invite you in.<\/p>\n

\n\tThe music industry<\/a> has had several opportunities for a reckoning in recent years. But so far, it\u2019s a reckoning the industry has managed to avoid. What we\u2019ve seen instead are individual moments, isolated legal outcomes, and public spectacles that generate headlines but haven\u2019t produced the systemic change this industry needs. The scrutiny that swept through Hollywood at the height of the #MeToo<\/a> movement largely passed over the music industry. And while the last few years have heightened that scrutiny, the industry\u2019s response has been mostly silence.<\/p>\n

\n\tHistorically, the legal window for survivors of sexual assault to seek justice was shockingly narrow. On the criminal side, prosecutors in New York had as few as five years to bring charges for most felony sexual assault cases. On the civil side, survivors had just three years to file a lawsuit. In California, the time limit to criminally prosecute cases of rape was within 10 years, and three years to pursue civil action.<\/p>\n

\n\tFor anyone who understands how trauma actually works, how long it can take a survivor to process what happened, to find the language for it, to feel safe enough to come forward, those timelines were never realistic. In 2019, New York extended the criminal statute of limitations to as long as 20 years for certain sex crimes and extended the civil window to 20 years as well. California removed the statute of limitations for prosecuting rape cases entirely in 2016, and gave sexual abuse survivors 10 years to pursue litigation civilly. But none of those changes were retroactive, meaning that anyone whose window had already closed was still locked out of the legal system.<\/p>\n

\n\tIn 2022, the Adult Survivors Act (ASA)<\/a> in New York state was passed to address that gap. It opened a one-year lookback window, allowing survivors to file civil suits that the previous statute of limitations had barred, regardless of when the abuse occurred. New York City\u2019s Victims of Gender-Motivated Violence Act<\/a> provided an additional pathway for survivors to file claims. More than 3,500 complaints were filed before the ASA window closed in November 2023, and the music industry was at the center of some of the most high-profile cases. The lawsuits filed under these lookback windows didn\u2019t just expose individual behavior. They exposed systems, institutional silence, and a culture that too often prioritized reputation and revenue over the safety of the people whose lives and labor make the industry thrive.<\/p>\n

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\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n

\n\tCalifornia followed with the Sexual Abuse and Cover-up Accountability Act<\/a>, its own lookback window that revived civil claims for sexual assaults with some strings attached. A one-year window for claims prior to 2009 required evidence of an institutional cover-up. A related two-year window for incidents after Jan.1, 2009 was more expansive but was due to close at the end of this year. After the vague wording of the initial law caused mixed results in the courts, California legislators passed a second law, the Justice for Survivors of Sexual Assault Act<\/a>, which went into effect Jan. 1, 2026. <\/p>\n

\n\tThe new law opened an additional two-year filing window that is fully retroactive, expanding survivors\u2019 ability to hold individual abusers accountable for sexual assault claims, no matter how old, without requiring them to also name a company or allege a cover-up. That window closes on Dec. 31, 2027. These laws aren\u2019t just about courtrooms. They\u2019re about culture. This wave of legislative shifts signals that the legal landscape is looking to provide more realistic pathways to keep up with society\u2019s evolving understanding of the dynamics that enable sexual violence.\u00a0<\/p>\n

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In an industry where so much happens informally \u2014 in studios late at night, at private events where the lines between business and social disappear \u2014 the opportunities for abuse of power are everywhere.<\/p>\n

Tiffany Red<\/cite><\/p><\/blockquote>\n

\n\tAnd yet, even with all of these new laws and legal claims, the industry has not had its reckoning. Fame, wealth, and power continue to distort and deny justice. What fandom and pop culture continue to prove is that if someone is talented enough, famous enough, and rich enough, there will always be people willing to ignore that person\u2019s crimes, especially when those crimes are sexual in nature. Nostalgia and stardom have a way of putting people under a spell. I\u2019ve seen it up close. Fame is a special kind of power that gets people to ignore things they would never tolerate from \u201cnormal people.\u201d When the person accused is someone whose music is the soundtrack to their lives, the public reaction isn\u2019t outrage. It\u2019s a negotiation. It\u2019s \u201cBut I love that song.\u201d Celebrity turns the pursuit of justice into \u201ccontent.\u201d It turns survivors into characters in someone else\u2019s story. And it gives the industry permission to do what it has always done: wait for the news cycle to pass and move on.<\/p>\n

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\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n

\n\tThat same power dynamic in the industry operates behind closed doors and away from cameras every day, making the most vulnerable susceptible to manipulation or worse. The gatekeepers who control whether your song gets picked, whether your deal gets signed, or whether you get invited back into potentially life-changing rooms hold a level of influence that extends well beyond the professional reach. And in an industry where so much happens informally \u2014 in studios late at night, at private events where the lines between business and social disappear \u2014 the opportunities for abuse of power are everywhere.<\/p>\n

\n\tThe music industry runs on collaboration. It runs on trust. A songwriter walks into a session with a producer they may have never met. An artist meets with an executive in a closed-door meeting to discuss a deal that could change their life. A young executive shows up on day one wanting nothing more than to prove they belong. Every one of these moments requires an environment where people feel safe enough to create, negotiate, learn, and say no without consequence. We all know that environment doesn\u2019t always exist. And too many of us have looked the other way.<\/p>\n

\n\tA 2024 global study<\/a> by MIDiA Research, TuneCore, and Believe surveyed more than 4,100 music creators and professionals across 133 countries and found that three in five women in the music industry have experienced sexual harassment, and one in five have experienced sexual assault. More than 70 percent of those women did not report it, citing fear of retaliation and a belief that nothing would change. And for the women who did come forward, the outcomes weren\u2019t much better. Fifty-six percent said their claims were ignored or dismissed, and nearly one-third were told to keep quiet.<\/p>\n

\n\tSo why hasn\u2019t anything changed? Part of the answer is structural.<\/p>\n

\n\tOne of the biggest differences between the film industry and the music industry is organization. Hollywood has unions, guilds, and collective bodies that represent workers across the business. When the #MeToo movement began, those structures didn\u2019t lead the charge, but they gave the movement somewhere to land and became vehicles for new codes of conduct<\/a>, reporting systems, and protections. The music industry doesn\u2019t have those same structures, but that doesn\u2019t mean we\u2019re powerless. It means we have to build differently. You don\u2019t need a union to be unified. You don\u2019t need to collectively bargain to have a collective consciousness. Keeping people safe in the rooms where music gets made is a human rights issue, and it should be something every company in this business can come to the table about.<\/p>\n

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\n\tThe last few years have made this impossible to ignore. We have watched the federal prosecution and conviction of one of the most powerful figures in music history on charges tied to the exploitation of people inside his own organization. We have watched survivors come forward publicly, at tremendous personal cost, to tell stories that too many people in this business already knew.\u00a0<\/p>\n

\n\tAnd still, the question remains: what are the companies doing about it? Not the individuals. The companies. The record labels, music publishers, management firms, studios, and agencies. The institutions that fund the careers, expand the platforms, and decide what behavior gets addressed and what gets ignored.<\/p>\n

\n\tAs founder of The 100 Percenters<\/a>, a nonprofit that aims to transform the standards of the music industry so that every working music creator can build a safe and sustainable career, I\u2019ve watched this industry avoid its reckoning long enough. In response to that reality, The 100 Percenters created the Safe Music Business Pledge<\/a>. A public commitment from companies across the music business to four straightforward principles: keep your people safe in the workplace and in studio sessions; report harassment and abuse when it happens and take action; refuse to tolerate inappropriate or abusive behavior; and create a safe space for those who don\u2019t feel protected.<\/p>\n

\n\tThat\u2019s it. Four commitments. None of them are controversial.<\/p>\n

\n\tOrganizations like the Recording Academy, BMI, SONA, LVRN, and others have already taken the pledge, and we welcome more support of this very important work. We are seeking record labels, publishers, and management firms with artists, songwriters, producers, and employees on their rosters. Companies that have the resources and the influence to set the standard for the entire industry.<\/p>\n

\n\tNot having signed the pledge doesn\u2019t mean a company is unsafe, and signing it doesn\u2019t automatically make a company safe. But taking the pledge signals something that matters. It tells your artists, your songwriters, your producers, and your staff that you see the problem and you\u2019re willing to do something about it.\u00a0<\/p>\n

\n\tThe laws are evolving, the culture is shifting, survivors are speaking, and the public is watching. The reckoning this industry has managed to avoid is coming. The question is whether you will be on the right side of it.<\/p>\n

\n\tIf your company hasn\u2019t taken the Safe Music Business Pledge, please visit the100percenters.com<\/a> and sign it this month. If you\u2019re an artist, songwriter, or producer reading this, I\u2019m asking you to share the pledge with the companies you work with and tell them why it matters to you. We\u2019ve even prepared an outreach template on our site to make that as easy as possible.<\/p>\n

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\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n

\n\tThe Safe Music Business Pledge is a concrete step toward making sure the people who create the music that drives this entire ecosystem can do so without fear. The industry is built on songs. Let\u2019s make sure the people who write, produce, and perform them can walk into every room knowing they\u2019re protected.<\/p>\n<\/div>\n


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