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.

Chris Payne, writing over at Billboard:

Fall Out Boy and My Chemical Romance played Warped in ‘04 and after drawing fervent crowds, were signed on for the next year early; by the time June ‘05 rolled around, “Sugar, We’re Goin Down” and “Helena” were MTV staples, improbably climbing the Hot 100. 700,000 kids came out that summer, more than any Warped before or since (for context, last year pulled 300,000). Individual bands regularly sold over $30,000 of merch per day. Bodyguards were needed for the first time. At summer’s end, the tour’s profits hit seven figures. But Warped’s summer-long slog paid another price; across 48 shows in 59 days, musicians and personnel grappled with oversized egos, volatile — if not occasionally hostile — environments, and a sideshow’s worth of distractions far from home, with a massive mainstream audience suddenly watching.

Steve Knopper, writing at The New York Times:

The New York Times spoke to 75 women and nonbinary musicians who have performed on the tour, many of whom echoed NPR Music’s Ann Powers, who recently criticized Warped as a “wild boys’ paradise.” Some divulged #MeToo stories; others ripped bands known for making misogynistic remarks onstage.

Warped Tour is coming to its end in 2018. Billboard has an interview with Kevin Lyman:

Next year, The Vans Warped Tour will ride into the sunset for a final summer’s worth of North American dates. According to producer Kevin Lyman, who founded the fest in 1995, numerous factors — including an evolving summer festival industry, a shrinking pool of bands, and declining ticket sales amongst its teenage demographic — led him to declare the tour’s 24th year its last.

This stood out to me at the end:

Well, that sexual harassment didn’t happen on Warped Tour. If you go through every one of those stories, it didn’t happen on Warped Tour.

I’ve heard from multiple people that this is bullshit.