Was Chappell Roan's Grammy Speech the Wake-Up Call the Music Industry Needs?

Last night was another star-studded evening at The Grammys—celebrated as one of the best ever and serving as a much-needed escape from the tragedies of D.C. and L.A. Even so, such award shows often represent the times—as art mimics life. The red carpet for instance, famously an opportunity for attendees to stunt shocking and experimental looks, saw lots of black—possibly a nod to the somber glow in the ashes’ distant pulse. But as usual, one nominee stood out, making headlines all night long—Chappell Roan—particularly for her impactful acceptance speech. She put the heat on the music industry’s exploitative terms, implemented by the very people sitting beneath her. 

Chappell first received praise after speaking on the red carpet with GLAAD, sending a message to the trans community: “It’s brutal right now, but trans people have always existed and they will forever exist,” she said amid President Trump’s executive orders, removing protections and inclusive measures from transgender individuals. “And they will never—no matter what happens—take trans joy away, and that has to be protected more than anything because I would not be here without trans girls.” 

The Midwest Princess often shares her support of her LGBTQIA+ tribe, like when she accepted the Best New Artist title at the MTV Video Music Awards, dedicating her award to “queer and trans people who fuel pop.” Her message was to the queer kids watching from the Midwest: “I see you,” she said. “I understand you because I am one of you. And don’t ever let anyone tell you that you can’t be exactly who you want to be.”

And to nobody’s surprise, the star’s Best New Artist status was solidified at last night’s Grammy Award Show. And equally unsurprising, Chappell took the opportunity to make another disruptive statement—but this time, to the record labels and music executives sitting before her. 

“I told myself if I ever won a Grammy and I got to stand up here in front of the most powerful people in music, I would demand that labels and the industry profiting millions of dollars off of artists would offer a livable wage and health care,” she said. “Record labels need to treat their artists as valuable employees with a livable wage and health insurance and protection. Labels, we got you, but do you got us?”

An irrefutably courageous act that moved the room to tears—her words were powerful, and they meant something—but what? 

She insinuated the comparison of musicians—particularly ones signed to record labels—to those within other industries. According to Rolling Stone, labels treat artists like investments—not employees—which is precisely her point. In most industries, if a company profits off of someone’s work, that person is typically considered an employee with protections. Most musicians however, are classified as independent contractors, meaning they aren’t entitled to things like health insurance, despite their careers largely being controlled by their label.

So, these artists often work full-time for a company, sometimes generating millions in revenue, and still lack a financial safety net in the—not unlikely—instance  of being dropped from the label. 

In Chappell’s case, she was signed as a minor, meaning she likely had little understanding of what she was signing, let alone the financial risks or long-term implications of her deal. And since many young artists sign contracts they don’t fully grasp, they can get locked into exploitative terms which favor the label. And when labels drop artists like her, such terms can leave an aspiring artist flat on their face. 

Not to mention, artists are usually paid for their completed work and not for the time it takes to make it. So, when making music full-time, this leaves wide windows open, void of income. Surely there’s a solution for this—one like an advance, for instance—which has to be what it sounds like, right? Wrong. An advance is not as simple as “payment in advance”—it’s a loan. So labels give the artists these loans, which have to be paid back before the artist sees profit, and can be a huge risk if an artist never recoups—as is often the case. And when it is, the artist never sees a dime from their music, even if it's generating revenue for the label. Still, said label owns their masters, profits off their music and can drop them without financial support.

But what about the “struggling artist” archetype? Isn’t that just the way the entertainment industry operates? I mean, they signed up for this life.

And yet, in Hollywood, major studios often provide insurance through organizations like the Screen Actors Guild (SAG-AFTRA) or the Writers Guild of America (WGA). Evidently, Chappell’s demand for a livable wage and health care isn’t actually so radical—it’s something most industries already provide to their workers. 

But they’re considered contractors, right? Well let’s not forget that, if anything, these Hollywood actors might better classify as independent contractors than signed artists, and they still have better protections. Let’s examine a “contractor”—someone who is self-employed and does a specific project within a sorted timeframe—Sort of like a person who might work with different studios, on different sets, for the amount of time that it takes to complete the project…You get it. 

Ultimately, Chappell’s criticism is sound and important as labels continue to profit off of artists while providing dubious terms to vulnerable contracteess—often taking advantage of an exhausted artist, stoked on finally getting what feels like their big break. Meanwhile, they’re seen as disposable talent, and if their careers don’t take off—as is often the case—they’re left to sing in their showers, struggling to keep the water running.

It’s no surprise that her plea resonated. The sea of musicians might be mega famous and super rich now, but their luck is not lost on them. They know that their industry needs reform and they were probably feeling the weight of this young girl—the best new artist—ruffling feathers. Feathers that she knows she might need to fly. 

She might’ve been on that stage, uniquely positioned to give that speech, but it is refreshing to see a star shine so bright that she tries to illuminate ones still in the dark.