{"id":11174,"date":"2026-02-13T18:24:25","date_gmt":"2026-02-13T18:24:25","guid":{"rendered":"https:\/\/www.billboard.com\/?post_type=billboard_pro_post&p=1236179620"},"modified":"2026-02-13T18:24:25","modified_gmt":"2026-02-13T18:24:25","slug":"casey-wassermans-name-appears-in-the-epstein-files-whats-next-for-his-namesake-agency","status":"publish","type":"post","link":"https:\/\/sarmiento24h.com\/?p=11174","title":{"rendered":"Casey Wasserman\u2019s Name Appears\u00a0In\u00a0the\u00a0Epstein Files.\u00a0What\u2019s Next\u00a0For\u00a0His Namesake\u00a0Agency?"},"content":{"rendered":"
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Trending on Billboard <\/h3>\n<\/p><\/div>\n

The biggest story in the live music business this week was the controversy surrounding Casey Wasserman, the founder and CEO of Wasserman Group, the agency whose music division books Ed Sheeran, Coldplay, Kendrick Lamar, Skrillex and hundreds of other artists of all sizes and genres.<\/p>\n

On Jan. 30, the U.S. Department of Justice released an additional 3 million pages of documents from the files in the case of financier and convicted child sex offender Jeffrey Epstein, and Wasserman was among the many notable public figures who appeared in them. Wasserman flew on Epstein\u2019s private jet in 2002, and the documents also include risqu\u00e9 emails from 2003 between Wasserman, who was then married, and Epstein\u2019s now-incarcerated associate, Ghislaine Maxwell.<\/p>\n

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\u201cI deeply regret my correspondence with Ghislaine Maxwell, which took place over two decades ago, long before her horrific crimes came to light,\u201d Wasserman wrote in a Jan. 31 statement. \u201cI never had a personal or business relationship with Jeffrey Epstein.\u201d<\/p>\n

Still, Wasserman\u2019s connection to Maxwell, and by extension Epstein, has spurred a slew of artists<\/a> \u2014 including Chappell Roan<\/a>, Orville Peck and Sylvan Esso \u2014 to part ways with the agency, with others calling for Wasserman to step down from his leadership role. Bethany Cosentino, the frontwoman of the band Best Coast, was the first artist to announce her departure from Wasserman, writing on Feb. 5<\/a> that \u201cI did not consent to having my name or my career tied to someone with this kind of association to exploitation.\u201d<\/p>\n

Reportedly, a group of Wasserman Music agents has asked Wasserman<\/a> to sell them the agency\u2019s music business \u2014 and has threatened to leave the agency if he doesn\u2019t. But so far, Wasserman, who is also serving as the president of the organizing committee for the 2028 Los Angeles Olympics, has made no indication that he will leave his namesake agency or change his role there. Neither Wasserman nor his agency have issued a statement addressing the developing situation since.<\/p>\n

What does all this mean for Wasserman, its agents and clients, and the broader live music business? Read on for an FAQ. <\/p>\n

How Established is Wasserman\u2019s Music Business?<\/strong><\/p>\n

Wasserman Group has existed since 2002, but only got into the music business in 2021, when it acquired Paradigm Talent Agency\u2019s North American live music representation business. Before that acquisition, Paradigm had spent years building its own business through acquisitions, and by 2021, it was among music\u2019s most influential agencies. Wasserman\u2019s resources helped turbocharge the new Wasserman Music, and in February 2024, Casey told Billboard<\/em><\/a>, \u201cWe believe in the music business. We\u2019re not buying [Paradigm] for tomorrow; we\u2019re buying it for the next 100 years.\u201d But committed as Wasserman might be to his agency\u2019s music operations, many of the division\u2019s agents, clients and relationships long predate the existence of Wasserman Music.<\/p>\n

How Much Does an Artist Care About Their Agency?<\/strong><\/p>\n

While agencies provide robust services and resources for their clients \u2014 and for the agents who work at them \u2014 artists are generally most committed to their specific individual agents, and will often follow them from agency to agency. So far, the statements of Wasserman clients who have spoken out have reflected this dynamic. \u201cI have worked with my agent, Sam Hunt, for over 15 years who has done incredible work in representing me,\u201d Cosentino wrote in her statement. \u201cI am in the Sam Hunt business. I am not in the Wasserman business.\u201d Several artists have referenced such longstanding relationships and praised their Wasserman agents \u2014 but ultimately, those allegiances have been trumped by the gravity of the association with Wasserman. \u201cWe love and appreciate our actual agents and we hope they can find a new scenario we can be a part of,\u201d the electronic trio Levity wrote in a statement on Instagram announcing its departure from Wasserman. <\/p>\n

Can Those Agents Just Leave Wasserman?<\/strong><\/p>\n

It\u2019s unclear. While artists have started to announce their departures, agents have so far remained in place. The explanation for this is fairly simple: As public-facing entertainers, artists face a much more immediate risk to their brands and businesses than agents do, and agents are likely holding out to see Wasserman\u2019s next move, which could absolve them from needing to take action on their own. But there are legal and contractual considerations as well. Agents are often bound by multi-year contracts, which could complicate the process of leaving the agency. And while legislation in states like California and New York has significantly weakened noncompete clauses, jumping ship for another agency \u2014 or banding together and starting their own \u2014 still may not be feasible for some agents. If Wasserman does remain at the agency, he could release disgruntled agents from their contracts \u2014 or they could attempt to force his hand with a walkout.<\/p>\n

What Could The Fallout Be?<\/strong><\/p>\n

Prior to the pandemic, Paradigm Music was on a roll, and Wasserman Music has continued that momentum, signing major new clients and poaching prominent agents (and often the artists with whom they work) from competing firms. The agency world always seems to be in flux \u2014 from the indie agencies that formed at the height of the COVID-19 pandemic to CAA\u2019s blockbuster acquisition of ICM Partners in 2022 \u2014 but the sheer number of agents, artists, or both who could soon be looking for a new agency home would be unprecedented, and could possibly reshape the booking market.<\/p>\n

Take the world of dance music, where Wasserman represents such heavy hitters as Skrillex, R\u00fcf\u00fcs Du Sol and Swedish House Mafia, among many others. Several prominent dance artists, including ODESZA and Lane 8, have already announced their departures from Wasserman, while others, such as John Summit<\/a> and Subtronics<\/a>, have publicly called on Wasserman to step down and threatened to leave if he doesn\u2019t. At this year\u2019s edition of Movement, the revered Detroit electronic festival, Wasserman has by far the most clients on the bill<\/a> (18% of Movement\u2019s bookings), followed by Liasion Artists (7%); major competitors WME and UTA rank at 6% and 3%, respectively. An agency that could land a disproportionate number of Wasserman agents or clients seeking a new home for representation could surge ahead in the dance music sector \u2014 and a similar phenomenon could play out in other genres, given Wasserman\u2019s strength across the booking business.<\/p>\n

How Does L.A. 2028 Factor In?<\/strong><\/p>\n

Amid all this, Wasserman\u2019s agency \u2014 which built its name by representing athletes, first and foremost \u2014 isn\u2019t his only consideration. Since the late 1990s, the executive has been a key figure in the world of sports business, and he\u2019s been working for more than a decade to bring the Summer Olympics to Los Angeles in 2028. Wasserman became the chair of the event\u2019s organizing committee in 2017, and its president in 2024 \u2014 a role that has thrust him into the political spotlight, including into meetings with President Donald Trump<\/a>. The Olympics may be what Wasserman currently cares about most \u2014 and, so far at least, this scandal hasn\u2019t shaken the Los Angeles Olympic Committee board\u2019s faith in him. \u201cWe found Mr. Wasserman\u2019s relationship with Epstein and Maxwell did not go beyond what has already been publicly documented,\u201d the committee wrote<\/a> after a review of the documents, reaffirming its commitment to the executive. If the committee had moved on from Wasserman, it would\u2019ve made it challenging for him to credibly maintain his post at his agency; likewise, its decision to stand by him strengthens his argument that he can remain atop Wasserman.<\/p>\n

Will Casey Wasserman Survive This Scandal?<\/strong><\/p>\n

That\u2019s the big question, and the one that everyone seems to be waiting on. There are several scenarios for what could come next that all seem somewhat possible, depending on Wasserman\u2019s personal next move. One, he could stay, and try to weather the exodus of music artists and agents; so far, his sports division appears mostly intact, with soccer superstar Abby Wambach the only athlete to publicly announce she was leaving over the scandal, and a reduced music roster could still remain viable. Two, he could sell his agency, whether to his own agents or to another consortium, which would likely involve the agency being renamed to distance itself from its founder; a sister possible scenario could involve him merely spinning off the music agency and retaining the sports side, in which case the outcome would be similar. A third possibility could be him stepping away from the CEO role and into some sort of chairman position, with the agency being renamed, which would allow him to stay on in some capacity but could quell some of the PR issues and associations that are part of this equation. Which option he takes remains to be seen. <\/p>\n","protected":false},"excerpt":{"rendered":"

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