Garbage frontwoman Shirley Manson released a scathing critique of the music industry last week, accusing record labels of systematic “thievery” that has devastated artists’ financial sustainability. The 55-year-old Scottish singer’s comments coincided with the band’s announcement that they would cease headline touring in the United States, citing insurmountable economic challenges that have rendered traditional touring financially untenable.
During recent performances, Manson elaborated on the industry practices that have severely impacted mid-tier artists like Garbage, pointing specifically to the disproportionate revenue distribution that heavily favors record labels over musicians.
The music business model is fundamentally broken, stealing from creators while executives pocket the difference.
The band, which rose to prominence in the mid-1990s, explained that despite maintaining a dedicated fanbase, the economics of touring no longer make sense when considering escalating costs for crew, transportation, venues, and equipment.
These challenges reflect broader systemic issues within the music ecosystem, where streaming platforms pay fractions of pennies per play while record companies absorb the majority of earnings from both digital and physical sales. For Garbage and similar acts, this revenue structure has created an unsustainable model where even successful tours fail to generate sufficient income to cover expenses.
Industry contracts frequently place financial burdens on artists while limiting their creative and economic autonomy. Musicians typically bear costs for marketing, production, and tour support with minimal guaranteed returns, a situation that has worsened in the streaming era as physical album sales have declined precipitously. Many artists have turned to royalty alternatives like Bandcamp, which offers more favorable earnings structures and direct artist-to-fan relationships.
Manson’s public stance adds her voice to a growing chorus of established artists advocating for industry reform and greater transparency in how revenues are distributed. Her criticisms highlight the particular vulnerability of mid-level artists who lack both the massive streaming numbers of current chart-toppers and the financial cushion of legacy acts. She expressed particular concern for young musicians on tour who often struggle with unsafe conditions while trying to establish their careers.
The band’s “Happy Endings” tour, which supports their eighth album “Let All That We Imagine Be the Light,” will conclude with a final performance in Mexico City on November 14. The band’s decision to halt headline touring represents a troubling trend that potentially threatens musical diversity, as economic constraints force increasingly more artists to reconsider traditional touring models or abandon them entirely, limiting direct engagement with fans across regional markets. For emerging artists especially, the current landscape necessitates creative alternatives like leveraging social media advertising to build audiences without relying solely on traditional touring revenue.
