Taylor Telford, writing at The Washington Post:
Overlooking the sins of powerful artists has felt intolerable in the era of #MeToo, but at Warped, taste is tethered to identity, and what comes next for its audience is complicated. The tour has flourished because much of its music is confessional and intimate. It fosters a devotion in the young, marginalized and vulnerable that rarely fades with age. Now fans are wrestling with whether the culture can adapt and evolve, or whether its worst roots run too deep. […]
Until I got to college, I actively disliked female musicians. I was enamored with the myth of the tortured artist; I chased it not only in my taste but also in my personal relationships. Now I wonder if some of these failures can be traced back to the music that shaped me. In part, I want to scrub myself of its influence. The problem is that I wouldn’t know myself without it.
This entire piece is really good. I hope this music scene can learn from the mistakes of the past. Sometimes I see signs of progress, and sometimes I am at a loss for words.
