By: Jacqueline Purmort-LaBue

The Bassnectar case will not be going to trial. Earlier this year, Bassnectar, born Lorin Ashton, reached a private settlement with three women who had accused him of sexually abusing them when they were underage. The announcement comes shortly after his motion to dismiss was denied late last year. 

Background

The dubstep DJ and music producer became a well-known celebrity in the electronic dance music (“EDM”) scene after releasing Divergent Spectrum, his first album to hit the Billboard charts. After four years of touring and hosting specially-curated Bassnectar festivals, Ashton went on to play almost exclusively at well-known commercial festivals such as Bonnaroo, Electric Daisy Carnival, Electric Forest Festival, Lollapalooza, and Okechobee. 

In mid-2020, Ashton announced that he was stepping back from music amidst numerous accusations of sexual misconduct that surfaced on social media. The following year, Rachel Ramsbottom and Alexis Bowling filed suit, claiming to be survivors of sex trafficking and child pornography. Additionally, the lawsuit named Ashton’s management and production companies, his record label, and his charity as “knowing participants or beneficiaries” of such acts. 

Selective Justice in the #MeToo Era

Ashton is not the only celebrity who has faced charges like this. With the rise of the #MeToo movement in 2017, many women have come forward to share their experiences as survivors of sexual violence in the workplace. Although a multitude of male celebrities have been accused of sexual misconduct both within and outside the EDM community, only a handful have faced criminal or civil charges in court. Well-known names like Harvey Weinstein, Bill Cosby, R. Kelly, Kevin Spacey, and Sean “Diddy” Combs are among that handful. 

Many of these lawsuits are still in process. Some have been convicted. Others have had those convictions overturned. Only 2.5% of perpetrators will go to prison for their crimes. Frequently, survivors privately settle before the lawsuit is filed. The Rape, Abuse, and Incest National Network (“RAINN”) has reported that despite the fact that one in every six women in the U.S. experiences rape or attempted rape, five in six women who are raped do not report it. The primary reason for underreporting is a lack of trust in the policing and legal systems. 

The Bassnectar settlement includes a confidentiality agreement, meaning that there will be no details released about the settlement, no public vindication for the survivors, and no finding of wrongdoing on the part of Ashton. This raises critical legal questions: Who gets held accountable, and who gets to walk away? Why does justice still feel so selective in the post-#MeToo era?

Cancelled or Still Cashing In?

After the @EvidenceAgainstBassnectar Instagram account went live in 2020, fans have grappled with the allegations. At the time, they debated whether or not to retire their clothing featuring the famed Bassnectar bassdrop symbol, some creating altered versions meant to symbolize the community moving forward without Ashton. One fan even started a petition that has garnered nearly 2,000 signatures, calling for Ashton to give the bassdrop back to the fans and be held accountable for his actions. Many fans have elected to remove or cover up their bassdrop tattoos. 

The ripple effect of the allegations hasn’t just affected the fans. In October 2023, two shows were canceled at Harrah’s Cherokee Center in Asheville, North Carolina. The Gateway Center Arena in College Park, Georgia, also canceled two of his shows scheduled for April 2024 after an investigation into the allegations against Ashton. 

Ashton has spoken out publicly against cancel culture, calling it a form of “domestic terrorism” following the numerous cancellations of his shows. Since his “comeback” launched in 2023, Bassnectar has played a pair of sold-out shows in Las Vegas in October, and another pair of sold-out shows in New York City on New Year’s Eve. Clearly, not all his fans believe the allegations brought by Ramsbottom and Bowling. 

This mixed public response highlights the complexity of accountability in the digital age. While venues and some fans have taken decisive steps to distance themselves from Ashton, others continue to support him, filling arenas and defending his legacy. The split raises broader questions: Can a fan base truly separate art from artist? Is “cancel culture” a meaningful mechanism for justice, or simply a temporary disruption? As Ashton’s career presses on despite serious allegations, the Bassnectar case forces us to reckon with what accountability and fairness for survivors looks like when public opinion is so starkly divided.