Best Coast’s Bethany Cosentino Calls for Wasserman Music CEO to Step Down Over Epstein Ties
- The music industry is facing another reckoning as Bethany Cosentino, frontwoman of the acclaimed indie rock band Best Coast, has publicly called for Casey Wasserman, founder and CEO...
- Cosentino, who has been represented by Wasserman Music since 2021, detailed her concerns in a powerful open letter posted on social media February 6, 2026.
- “Ghislaine Maxwell is not a neutral character in a messy story – she is a convicted sex trafficker who helped facilitate the abuse of minors,” Cosentino wrote.
The music industry is facing another reckoning as Bethany Cosentino, frontwoman of the acclaimed indie rock band Best Coast, has publicly called for Casey Wasserman, founder and CEO of Wasserman Music, to step down following revelations of his past correspondence with convicted sex trafficker Ghislaine Maxwell and his association with Jeffrey Epstein.
Cosentino, who has been represented by Wasserman Music since 2021, detailed her concerns in a powerful open letter posted on social media . The letter, which quickly gained traction within the industry, centers on recently released federal documents containing “sexually suggestive messages” between Wasserman and Maxwell, a key figure in Epstein’s criminal enterprise. Maxwell is currently serving a 20-year prison sentence for her role in facilitating Epstein’s abuse.
“Ghislaine Maxwell is not a neutral character in a messy story – she is a convicted sex trafficker who helped facilitate the abuse of minors,” Cosentino wrote. “As an artist represented by Wasserman, I did not consent to having my name or my career tied to someone with this kind of association to exploitation.”
Cosentino’s statement goes beyond simply acknowledging Wasserman’s past interactions. She explicitly rejects the notion that a simple apology – which Wasserman issued on , expressing “deep regret” over the correspondence – is sufficient. She argues that “regret without accountability is just damage control,” and that artists are “tired of swallowing scandals like this.”
The singer-songwriter’s critique extends to a broader pattern of protecting powerful men within the entertainment industry. “We are tired of learning, over and over, that men who control access, resources, money, and so-called safety in our industry are given endless grace,” she stated. “We are tired of being asked to treat proximity to something horrific as an unfortunate situation we should simply move past – especially when the person involved still holds all the power.”
Cosentino’s demand for Wasserman’s resignation is coupled with a request to remove her and Best Coast’s name from the Wasserman Music website. She also called for a change of the agency’s name, signaling a desire for a complete break from the association. Notably, she emphasized her strong relationship with her agent, Sam Hunt, stating, “I am in the Sam Hunt business. I am not in the Wasserman business.”
The situation highlights the growing pressure on industry leaders to be held accountable for past associations and to demonstrate a commitment to ethical conduct. The revelations about Wasserman come at a time of heightened awareness regarding sexual misconduct and abuse of power, particularly in the wake of the #MeToo movement and ongoing scrutiny of the Epstein case.
Wasserman’s position extends beyond music representation. He also holds a prominent role on the organizing committee for the Los Angeles Olympics, a fact that has added another layer of complexity to the controversy. Calls for his removal from the Olympic committee are also gaining momentum, according to reports.
Cosentino’s letter is a pointed reminder of the power dynamics within the music industry and the often-unequal burden placed on artists. “Artists are not interchangeable assets,” she asserted. “We are people. Many of us are women. Many of us, myself included, are survivors. We deserve systems that let us work without asking us to compromise our values in exchange for opportunity.”
The fallout from this situation is likely to be significant, potentially prompting a wider conversation about ethical standards and accountability within the music industry, and beyond. Cosentino’s willingness to speak out, and the clarity of her demands, sets a precedent for other artists who may be grappling with similar concerns about their representation and the values of the companies they work with. She concludes her statement with a powerful message: “these people work for us, not the other way around.”