Garbage frontwoman Shirley Manson launched a blistering critique of the music industry this week, condemning what she describes as an “unsustainable” business model that exploits artists while enriching corporate executives. The Scottish singer, who rose to prominence in the 1990s, highlighted the absence of union protection for emerging musicians, a deficiency she believes has led to widespread exploitation throughout the sector.
Manson’s comments come amid growing frustration among artists regarding the economic viability of music careers in the streaming era. Many musicians now earn as little as $12 monthly from streaming platforms like Spotify, forcing them to rely heavily on touring and merchandise sales to survive financially. This reality has created a particularly challenging environment for artists outside major markets, who often cannot afford to tour beyond coastal areas.
Today’s artists face an impossible equation—$12 monthly from streaming while touring costs skyrocket, leaving many musicians financially stranded.
“The lack of a proper union structure has allowed what can only be described as thievery to become standard practice,” industry analyst James Martinez noted on June 3, echoing Manson’s sentiments. The power imbalance between artists and corporations has become increasingly pronounced, with record labels and streaming platforms dictating terms that rarely favor creators. Many artists are increasingly turning to sync deals as an alternative revenue source when traditional income streams fall short.
The financial strain has forced countless musicians to maintain multiple jobs while pursuing their craft, a situation that threatens artistic diversity and innovation. Without collective bargaining power, artists have little recourse when faced with unfavorable contracts or exploitative practices. Economic pressures have resulted in many talented musicians abandoning their careers prematurely.
Touring, traditionally a reliable income source, has become prohibitively expensive for many bands. Independent artists are increasingly turning to promotional tools available on streaming platforms to build audiences more efficiently while reducing touring costs. The physical and emotional demands of constant travel, combined with rising costs, have made touring financially viable only in certain profitable markets. The band will conclude their final North American tour in Vancouver on October 20, marking the end of an era. This limitation further restricts artists’ ability to build sustainable careers.
Music industry representatives have yet to respond directly to Manson’s criticisms, though similar concerns have been raised by numerous artists across genres. As streaming platforms continue to report record profits, the disconnect between industry success and artist compensation remains stark, raising questions about the long-term sustainability of music as a viable profession for future generations. Manson’s advocacy serves as an urgent “alarm call” for upcoming artists who feel unrepresented in the current industry landscape.
