You can add another musician reportedly once associated with Dogma to the growing roster of individuals to have spoken out against the band this week. Past players in the all-female hard rock outfit have recently begun calling out the group’s management, condemning how they operate the group from behind the scenes.
Thus far, allegations of manipulation, gaslighting, mistreatment and more have been made. While it’s unclear exactly how many, it now seems that countless musicians have cycled through the band over the past few years. According to at least one former member, those replacements can and have been made without warning.
Former vocalist Grace Jane Pasturini (Lillith II), and ex-guitarists Amber Maldonado (Lamia II) & Patri Grief (Rusalka) first took to the internet on October 26th to publicly air their concerns with Dogma‘s management company. In a joint statement, they claimed the company has been controlling the group and making ‘unilateral decisions’ at the cost of members they recruit.
Grief would follow with a personal statement several days later, lodging further allegations against the band‘s management. In her statement, she made claims that she was manipulated into buying gear and items that were not necessary, routinely undervalued for the extra effort she put into the band, and ultimately not provided the proper visa by management to tour the United States.
She claims that she and another member of the band were both detained for roughly two days upon trying to enter the U.S. for a tour before being sent back home due to that improper paperwork. She also alleged that during her detainment, she was replaced in the band by management without warning and asked to teach her successor the requisite guitar parts.
Now Kim Jennett has come forward with her own story that further paints the band’s inner workings in an unfavorable light. According to Jennett, she was offered the role of Lilith in Dogma in 2024, but ultimately declined over what she described as being a highly unfavorable contract. Speaking via her Facebook today (October 30th,) she issued the below statement:
“I want to share my side of the story.
Because I know the women involved legally may be unable to share certain aspects of their story, and I have proof of that. I’m speaking out in solidarity with them. As women in music, we’ve got to have each other’s backs and call this kind of thing out so it stops happening again.
In 2024 I was told I’d be the new singer of Dogma. (I got through the audition and to the point of exchanging contacts before flying to South America for rehearsals)
From day one, it was made clear this wasn’t really a band. it was a brand. A plant created and pruned by the management. I was essentially playing a role. That does not take away from how much hard work and graft it takes to be a part of a project like this. The girls would have poured their hearts souls, blood sweat and tears into it. You could see they all injected a part of themselves into the roles and did an incredible job of making those characters their own.
What makes me sick about all of this is the anonymity. The women are masked, silenced, and controlled by contracts that stop them from speaking out. with legal threats hanging over them if they do and I have the proof of all this.
The contract I was sent was one of the most insulting things I’ve seen in my 15 year career. My Lawyer said it was essentially ‘slave labour’ and told me not to go anywhere near it. I completely understand that not everyone has access to legal advice, and I don’t blame the women who signed. They were sold a dream. manipulated with false promises and hope, into signing something that ultimately exploited them.
People might not realise it’s not just about the awful pay, $100 a show (frankly a joke) while the managers pocket the profits from merchandise, ticket sales, and meet and greets. It’s about control. legally bound to hide behind characters and keep mouths shut. Replaceable and exploited, all disguised behind a mask of “feminism.”
I fought it for months. Every time I pushed back, the managers came back with manipulative tactics, trying to pressure me into signing something that would have destroyed me legally, financially, and professionally. I urged them to add a section added about basic human rights which they immediately took back out. Protecting myself against things like, sexual abuse and exploitation, allowing me rights to things such as health safety and the right to terminate the contract if these things are breached. When I urged my human rights where a non negotiable they backed out.
It is a brand that preaches “authenticity, freedom, and expression” while handing out contracts that strip those very things away.
Even their official statement says it all: “Dogma is bigger than one person.” That’s exactly it …. the musicians are treated as replaceable. Disposable.
Sadly, in today’s industry, there are so many artists that need work out there they will likely continue with a new lineup. more women being exploited and hidden behind this mask of “mystery.”
I’m speaking out so people can see this for what it really is. If a brand’s power relies on silence, control, and anonymity, it’s not empowerment. it’s exploitation.
Proof & What the Contract Said
I never signed their contract. thank God. but here’s what they tried to make me agree to:
- ownership of my voice and likeness even after leaving.
“The company retains the right to use the artist’s voice, recordings, likeness and character portrayal in perpetuity.”
That means even if I walked away, they could keep using my image and voice to promote their brand. They could even use Al to replicate me. This they are doing to the women as I type this by using their likeness to write posts on their social media pages and models miming to their recordings.
- Total anonymity, total silence.
“The artist agrees to perform under anonymity and refrain from revealing their identity publicly.”
“Any breach of confidentiality will result in legal action.”
So the women literally can’t speak. They’re gagged. That’s why you’ll never hear the true side of how bad things got. they’re legally trapped. One of the reasons I have decided to share all of this.
- $100 per show, no ownership, no royalties.
“Artist will receive $100 per live performance, with no entitlement to royalties or residuals.”
That’s exploitation. No professional musician in 2025 should be paid less than minimum wage to front a brand making thousands. It even stated if I made a creative contribution to writing I would never be compensated for it.
- One sided power and threats of legal action.
“The company reserves the right to replace the artist at any time without compensation.”
If you refused or asked for fair terms, you’d be threatened with legal consequences.
Allowing there coercive and manipulative treatment of the artists from start to finish.
- The illusion of empowerment.
They used words like sisterhood, freedom, authenticity, and artistry but the fine print stripped all of that away. Behind the masks, these women had no control over what they said, wore, or earned. It’s the textbook definition of exploitation dressed up as feminism.
6.Termination
“The Company reserves the right to terminate this agreement and replace the Artist at any time, for any reason, without prior notice or compensation. The Artist may not terminate this agreement without the prior written consent of them”
That means they could drop the women instantly, but the women couldn’t leave. trapped unless the management allowed it.
- Legal fees
“The Artist shall indemnify and keep indemnified the Company against all costs, claims, damages, and expenses (including reasonable legal fees) arising out of or in connection with this Agreement.”
If anything went wrong even if it was the managements fault I would have to pay their legal fees, and when they are paying so little per show it completely traps the artist, its financial abuse and manipulation.
Every word of this is the complete truth. I have every message, call recording, and all of the contracts to back this up.
I’m speaking for those that can’t.
If you care about women in music, stop supporting systems that hide behind empowerment while profiting off silence.
I stand with Grace, Amber, and Patri, and I urge you to do the same. Think about who you’re really supporting and what kind of industry you’re helping to sustain.”
Dogma‘s official social media have yet to respond to this latest statement from Jennett or the personal statement issued by Grief. However, they did issue this response towards the initial claims made against them by Pasturini, Maldonado and Grief.
[via Lambgoat]
