Should Teenage Popstars Be Banned? Music Industry Rethinks Duty of Care After Liam Payne's Death
Following the tragic death of former One Direction star Liam Payne at age 31, there’s a growing debate within the music industry about protecting young artists. Some suggest a ban on pop stardom for those under 18 as a way to safeguard their well-being.
When Payne passed away on October 16, an outpouring of tributes was accompanied by shock and reflection. Payne’s fame began at age 16 with The X Factor in 2010, catapulting him and his bandmates to global stardom. However, his success came at a significant personal cost. Payne openly discussed the pressures of fame, sharing with Esquire Middle East in 2019 that life under constant public scrutiny left him anxious and isolated. “There were days I didn’t want to leave my house… I’d sweat just going to the store,” he admitted, adding, “it does happen to everyone in this industry.”
Guy Chambers, a respected British songwriter, sees unsettling similarities between Payne’s story and that of pop icon Robbie Williams, who joined Take That at age 16. Williams struggled with anxiety and substance abuse early in his career. In a 2022 interview, he described the surreal transition from high school to stadium performances, where he faced screaming crowds and endless travel. Reflecting on this, Chambers recently proposed banning under-18s from entering the music industry, stating that exposing teenagers to adult pressures “can be really damaging.”
The industry is no stranger to tragedies among young stars. Amy Winehouse, who found fame at 19, was publicly tormented and ultimately lost her life to addiction at 27. Avicii, who began producing music as a teenager, died by suicide at 28 after battling mental health issues. Aaron Carter, a child star who faced addiction and mental health challenges, also died young.
Psychologist Dr. Adi Jaffe, who works with celebrities, says that young artists are especially vulnerable in an industry that prioritizes profit. “They’re often shy, creative minds forced into a fast-paced, high-stakes world,” he explains. Jaffe notes that many artists endure grueling schedules, sometimes with 150 to 200 performances per year, leaving them with little stability or time for self-care. To cope, many turn to stimulants and sleeping pills, forming destructive habits.
Youth and stardom can be a toxic mix. Teenage brains are still developing, making them more sensitive to stress. Jaffe warns, “They’re simply not equipped for the punishing demands of celebrity life.” Being thrust into the limelight also disrupts social development, isolating young artists from their peers and normal experiences. Payne himself shared how the band’s grueling schedule led him to self-medicate: “I thought, ‘Well, I’ll have a party for one,’” he said, speaking about the loneliness and reliance on alcohol that became a crutch over time.
While some support a ban on young artists entering the industry, others argue it’s impractical. Chris Herbert, who managed the Spice Girls, doubts such a ban could work. “Young people will always be drawn to young artists,” he says. Herbert instead advocates for education and support systems, believing young stars should be fully informed about both the rewards and risks of fame. He also calls for structured support systems like trained chaperones, therapy access, and more humane work schedules to help artists avoid burnout.
In the UK, performance licensing laws protect children in entertainment up to age 16, but this protection vanishes once they leave school. Without similar rules for 16- and 17-year-olds, these young stars can easily slip through the cracks. In the US, states like California limit work hours for child actors, yet there’s no equivalent for young musicians, exposing them to grueling schedules and demanding lifestyles with minimal oversight.
Lily Allen, who signed her first record deal at 17, recently shared on her BBC podcast Miss Me? her own struggles as a young artist. She questioned the industry’s motives: “It’s all about profit, not the well-being of those creating the work.” Allen suggested restructuring the industry so that artists could be employees, which would entitle them to HR support and duty of care protections.
For now, however, the young musicians most affected by the pressures of fame remain self-employed, without the protections available to record company staff. Jaffe points out that being in the public eye is damaging, regardless of age, especially with the relentless nature of social media.
The music industry has been rocked by tragedy time and again, but as Chris Herbert points out, the “business as usual” approach prevails. He hopes the industry can evolve to better support young artists. “We’re getting better at addressing mental health, but we still have a long way to go,” he says. Whether a ban on teenage popstars becomes reality or not, it’s clear that change is needed to protect the lives and well-being of future stars.
