Evidence Against Bassnectar [Interview]

**TRIGGER WARNING: EPHEBOPHILIA/GROOMING**

Whispers of foul play by Bassnectar traveled through the EDM community for years. When popular DJs and producers like Datsik, Billy Kenny and Space Jesus were exposed, many asked: ‘Well, what about Bassnectar?’ 

The Instagram account @EvidenceAgainstBassnectar (EABN) launched on June 28. It turned those whispers about Lorin Ashton, more widely known by his stage name Bassnectar, into shouts. “This time we had a solution for those inquiries,” said EABN. The account gave a platform to Ashton’s unknown victims of ephebophilia and opened the doors for other producers to talk about the icon’s manipulation and artistry theft.

While the account still stands as a safe space for victims of Ashton to be heard, it serves a new purpose. EABN now shares content created by the artists that were ‘nubbed by ‘Nectar. It also shares thought-provoking articles to guide the bass community towards growth and healing. “We can learn to have a healthy appreciation of artists and the art they create, as opposed to idol worship. No human being needs to be idolized,” said EABN.

Psychologist Dr. Steve K. D. Eichel, who specializes in cult studies, explained four steps that lead to fanaticism. In a perspective column for the Wilmington News Journal, he wrote how the first step is to have an unordinary experience that created a shift in perspective. The second step is exposure to an ideology associated with that experience and the third is a strong connection to a person that embodied that ideology. The final step is internalization and denial of outside information that goes against said experience, ideology or person.

The strong sense of identity felt by fans made the evidence against Bassnectar hard to digest. “To fans, it was more than going to a concert for a good time,” said EABN. “It also felt like being of service to some greater good. It’s sad that ‘the greater good’ was actually a mask to veil reprehensible behavior.”

Bassheads would volunteer and participate in community activities through Be Interactive, a non-profit organization started by Bassnectar. It partnered with organizations like Rock the Vote to get bassheads registered to vote and Conscious Alliance to organize bassheads to help fill local food shelves. On multiple occasions, Bassnectar also offered therapy scholarships through varying organizations. Bassheads could also be a part of Bassnectar’s amBASSador program at shows. 

“Bassnectar was postured as an altruistic, activist organization originated by one man,” said EABN. “It provided a sense of belonging and righteousness to others who may have felt they never got that in their lives previously. It gave them friends, fun and a purpose.”

Festivals always felt different with Bassnectar on the line-up. His fan base was strong and came in masses — a guaranteed sold-out show. Each adorned with his logo, the “bassdrop,” on customized jerseys, pins and spoons — anything imaginable, really. Even the bootleg festival shirts sold on the lot would feature his logo larger than every other headliner. On the day of his set, the “bassdrop” flags that flew high above campsites would be lowered and carried towards the venue gates — black t-shirts and pashminas in tow. The fans would swarm the stage for hours before showtime and showed nothing short of dedication. 

“It makes sense why they’d want to protect that over anything,” said EABN. “Unfortunately, that sense of identity was so powerful that it often appeared obsessive as a result.”

Causes encouraged by Ashton such as therapy, voting, anti-racism and environmentalism were widely embraced by bassheads. But the bassheads’ response to claims that challenged the “King of the Sound’s” character, showed a strong cognitive dissonance.

In “A Theory of Cognitive Dissonance,” Leon Festinger explained the concept simply — “A man with a conviction is a hard man to change. Tell him you disagree and he turns away. Show him facts or figures and he questions your sources. Appeal to logic and he fails to see your point.”

EABN had carefully watched the reactions of fans when survivors spoke up in the past and how Space Jesus fans reacted to @EvidenceAgainstSpaceJesus. The responses included but were not limited to, denial, victim-shaming, victim-blaming, harassment, justification and gaslighting. In conclusion, EABN decided the best way to help bassheads focus on the message and to guarantee safety for those involved was to present it anonymously. 

Once EABN took off, testimonies and evidence surfaced — more than EABN had expected. “It led to so many other women coming forth, whether it be private or public and it’s caused them to be able to move forward with healing and closure,” said EABN. Beyond physical and emotional manipulation of young fans, Ashton had also manipulated artists.

Ashton’s artistry theft included oversampling of other artists’ work without credit, such as in the case of DJ and Producer Jordana. She spent five years trying to get a hold of Ashton which she wrote about in a lengthy Twitter thread. Ashton paid Jordana a settlement but never followed through with royalties. Jordana was not alone in her creative experience with Ashton. 

Mimi Page, the under-credited composer and co-producer of hit track “Butterfly,” also wrote an open letter to Bassnectar about how the icon financially and creatively took advantage of her too. Visual artist, Max Hattler, even filed a lawsuit against Ashton when he used his imagery in a stage show — even after Hattler asked him not to. 

Other claims against the DJ were deeply disturbing. Ephebophilia is defined as the sexual preference of mid to late teenagers. The EABN account featured screenshots of testimonies, second-hand accounts and call-outs from across the internet. It also featured new public information such as recorded phone calls and emails between Ashton and a 17-year-old about school, grades and research papers.

One testimony from a former AmBASSador, Laura, recalled a time she witnessed a coordinator pull two very young-looking fans for a “more intimate experience” with Ashton. Another testimony was from Lauren, a former fan, who noticed patterns of sexism, secrecy, manipulation and psychological abuse over a 5-year relationship. Though she was of age when she and Ashton met — her experience with Ashton aligned with testimonies of minors who had come forward. She wrote about how the artist would give her unsolicited money, only communicate via encrypted apps and claimed women his age had “too much baggage.” 

On July 3, 2020, Ashton denounced his platform as Bassnectar, handed over Be Interactive and continued to deny the ephebophilia allegations. He left all artistry theft unmentioned. EABN felt that it was, “definitely telling that someone would run away from the conversation so fast and step down from their career.”

The creation of EABN and Ashton’s final statement occurred only six days apart.

Behind the scenes, EABN connected survivors with resources and helped them feel less alone in the whole experience. “According to what we’ve seen through experience, coming out into the spotlight with your story can be vicious, but also liberating and healing,” said EABN.

Survivors received no pressure to go public with their testimonies. “We would never tell a victim what is or isn’t best for them because we see the pros and cons of staying silent and moving on, as opposed to telling your truth and moving on,” said EABN.

Today, they maintain a friendly relationship with survivors and check in with them occasionally. “We couldn’t be more proud of them and their bravery,” shared EABN.

The account also developed a friendship with the founder of the Evidence Against Space Jesus account, Caeli La, as well. “It’s a unique position to be placed in,” said EABN. The two accounts were able to help each other through the ups and downs of exposing high profile abusers in the EDM scene.  “Also, we may or may not share situation-related memes and laugh at them together.”

“As for the people who still didn’t want to accept the truth, defended his behavior and continued to be ugly, well … they are just showing how dangerous fanaticism can be,” said EABN.

Fanaticism is seen all across our society. It’s seen with religious leaders, politicians, influencers and artists. EABN noticed that “devoutly loyal fans are filling a need for themselves, usually a deep sense of belonging. It’s reasonable to wonder why we see that so often in our culture. Why don’t so many people feel like they belong?”

The account hopes that education on topics such as recognizing abuse and how to identify grooming will help prevent history from being repeated. “If we can’t see it from the people we thought we admired, then we should cultivate it in ourselves,” said EABN. Ultimately, Evidence Against Bassnectar hopes to inspire people to take accountability in their own lives and ask themselves why they felt the need to worship a person or their platform.

“This might encourage people to take care of themselves first and foremost, and then take care of one another in the community, as opposed to devoting their lives to something they don’t really know about in full,” concluded EABN.

Lorin Ashton wasn’t the AmBASSador who passed out water bottles during the show. Lorin Ashton wasn’t the one who collected cans or cleaned up beaches. He didn’t pass out cards with positive messages or create lifelong friendships. Every person positively impacted, every act of service, every friend made happened because of you, the former basshead.

For anyone who has been a victim of sexual assault and is seeking help, we encourage you to visit RAINN.org for 24/7 support via its online chat or via its hotline at 800-656-HOPE.

 

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