{"id":1221,"date":"2026-08-05T11:06:56","date_gmt":"2026-08-05T11:06:56","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=1221"},"modified":"2026-08-05T11:06:56","modified_gmt":"2026-08-05T11:06:56","slug":"stella-lefty-and-the-rise-of-nepo-baby-musicians-and-industry-plants","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=1221","title":{"rendered":"Stella Lefty and the Rise of Nepo-Baby Musicians and \u201cIndustry Plants\u201d"},"content":{"rendered":"
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For this week\u2019s Infinite Scroll<\/strong> column, Brady Brickner-Wood is filling in for Kyle Chayka.<\/em><\/span><\/div>\n<\/div>\n

Most musician bio-pics rely on a familiar trope: a troubled kid\u2014wildly talented, terribly traumatized\u2014hopes to make something of himself before the world swallows him whole. Think Ray Charles in \u201cRay,\u201d climbing out of poverty after losing his sight. Or Johnny Cash in \u201cWalk the Line,\u201d picking cotton on his family farm, unable to shake the grief of his brother\u2019s death. Or Tina Turner<\/em> in \u201cWhat\u2019s Love Got to Do With It,\u201d who finds solace in singing after her parents abandon her and her sister. These from-nothing-to-something origin stories are central to the mythology of American meritocracy, the belief that in every rural town, lifeless suburb, and boarded-up city block there lives a future star. Elvis in \u201cElvis,\u201d James Brown in \u201cGet On Up,\u201d Loretta Lynn in \u201cCoal Miner\u2019s Daughter\u201d\u2014you\u2019d be hard pressed to find a musician bio-pic that doesn\u2019t trace the arc from obscurity to stardom, hardship to glory, only to reveal how fame begets its own ruinous burdens. Silver spoons and mentally well-adjusted people need not apply; we prefer our artists broken and emotionally bedraggled, their genius lacquered with spit and suffering.<\/p>\n

Read more The Mentor<\/a><\/p>\n

Why are musicians such reliable rags-to-riches archetypes? Perhaps it\u2019s because music, more than other artistic disciplines, tends to be understood as something a person either has a natural gift for or not. As a teen-ager, Jimi Hendrix carried around a broom and pretended it was a guitar, and he later taught himself to play the instrument entirely by ear. When her mother brought home a Boswell Sisters record, a young Ella Fitzgerald spent hours imitating the group\u2019s front woman, Connee Boswell, in an effort to learn to sing. Stevie Wonder made music out of everything, saying he was known in the projects as \u201cthe blind boy who was always making noise, beating on walls, hitting on boxes.\u201d Prodigies, all of them, but the mythos is consistent: their gifts came from somewhere deep within, not from schooling or parental directive or formal instruction. In the end, technical virtuosity matters far less than having soul,<\/em> that ineffable, impossible-to-fake quality that\u2019s embedded in the cosmic architecture of a performance. Maybe this is why we want our musicians to have suffered: so that they can transpose the almost mystical frequencies of existence into an emotional language we know but cannot name.<\/p>\n

<\/div>\n

Can a musician who is a \u201cnepo baby\u201d channel the mystical frequencies of existence? Can a person who has leveraged family connections to jump-start her career really make resonant, evocative art? If you turn to the internet for answers, the verdict is clear: no. The nepo baby\u2014\u201cnepo\u201d being short for nepotism, and \u201cbaby\u201d being short for spoiled rich kid\u2014is instead imagined living at her parents\u2019 palatial estate, with a butler to bring her breakfast and a luxury car awaiting her in the driveway. She makes music because, well, what else is she going to do? She will never need to work a normal job, and perhaps her father even knows a few high-profile major-label executives, if she\u2019d ever like an introduction. The nepo baby has surely taken singing and piano lessons since childhood and has always been praised for her talent. She owns tens of thousands of dollars\u2019 worth of home-recording equipment and has access to professional studios in New York and Los Angeles. She works with expensive producers and engineers. She pays a publicity firm top dollar to create a comprehensive social-media-marketing campaign. She shoots a high-budget music video, which is then cut into short-form clips engineered for peak virality. They go viral. The lead single nets millions of streams. The musician becomes a perma-fixture of our screens, and we wonder: Why is this person being shoved down my throat? We learn that their dad is a tech billionaire, or an entertainment executive, or an esteemed musician or artist himself. We think: surely she\u2019s jumped the line, skipped the requisite heartache and pain required to make it as an artist and launched blithely into the good part. We learn to resent her and the pay-for-play system that facilitated her rise.<\/p>\n

Or, at least, this is the story we tell ourselves on social media any time a child of money or fame vaults into public life. And there always seems to be someone\u2014a new young actor, model, musician, influencer\u2014available for scrutiny, whose apparent speedrun to fame becomes ground for conspiratorial investigation. The most recent example is the twenty-three-year-old Stella Lefty, whose breakout hit \u201cBoston\u201d swept through TikTok earlier this summer and catapulted her onto the charts and into the discourse. \u201cBoston\u201d is an uncanny interpolation of Noah Kahan\u2019s stomp-clap sensation \u201cStick Season,\u201d a song built around a geographical callout and a chatty, lilting vocal delivery. Like \u201cStick Season,\u201d the hook for Lefty\u2019s \u201cBoston\u201d is undeniable, one that\u2019ll weasel into your brain after one listen and refuse to leave. I first encountered the song as a short-form video on social media, and it didn\u2019t make much of an impression; Lefty seemed to me yet another competent, country-curious folk-pop artist chasing the success of Ella Langley\u2019s \u201cChoosin\u2019 Texas,\u201d a country crossover hit that has now spent sixteen weeks atop the Billboard<\/em> Hot 100. (Langley is from Alabama; Lefty grew up outside of Chicago, but in her singing she\u2019s adopted a raspy Southern twang.) When internet sleuths dug into Lefty\u2019s background, they discovered that her father, Eric Lefkofsky, was a co-founder of Groupon and is now a billionaire A.I. executive. The ensuing debates about her potential nepotistic advantages have focussed less on whether her wealthy father is directly responsible for her fame and more on how lavishly he has financed her career\u2014an advantage that, if true, feels particularly unfair to artists struggling in an economy in which student loans, housing, and health-care costs stifle opportunities to save up and invest in artistic pursuits. Lefty has mostly avoided addressing these questions, though she certainly seems confused by the criticism. \u201cIt\u2019s just so unnatural to see so many people having opinions about me,\u201d Lefty told Rolling Stone<\/em>, in June. \u201cWhatever people are loving, they are loving.\u201d Her music really is all about loving, too, with songs projecting the uncomplicated joy of a wide-eyed college graduate who goes to the bar on the weekends and falls in love at first sight. Lefty does not make music to suffer to\u2014it\u2019s music for the kid who still believes that the right song, the right night, or the right city might change everything.<\/p>\n

Read more Michigan Primary-Election Map: Live Results<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Some nepo-baby artists are more transparent about their privileges. The pop star Gracie Abrams, for instance, is the daughter of the filmmaker J.\u00a0J. Abrams, and her early success sparked questions, and critiques, about how she scaled the mountain of stardom so quickly. Of all the Taylor Swift-inspired singer-songwriters out there, was it an accident that a \u201cStar Wars\u201d director\u2019s daughter was the one to land a No.\u00a01 album and a Saturday Night Live<\/em> performance? \u201cThe nepo stuff is obviously in the discourse appropriately,\u201d Abrams told the Times,<\/em> last month. \u201cI had a safety net, and that allowed me the ability to experiment and to concentrate, and I had the gift of time to dedicate to doing this thing I loved.\u201d Although indictments of industry favoritism have dogged her since her d\u00e9but, Abrams is clearly talented; she\u2019s a powerful, melancholic vocalist with a masochistic pen and an anxious, intimate approach to arena pop. Her songs seem determined to establish that she\u2019s more than a product of privilege, and indeed a heartbroken, bent-out-of-shape human being. Her latest album, \u201cDaughter from Hell,\u201d overflows with impetuous self-lacerations: she\u2019s bleeding, she\u2019s bruised, she\u2019s a slipknot, a crack in the pavement, so drunk she\u2019s throwing up at the party\u2014she\u2019s a daughter from Hell, apparently, the nepo baby clawing at the velvet walls of her inherited life. (Besides, privilege is all relative, as pointed out in one viral tweet: \u201c[Stella Lefty] is a level of Nepo Baby that makes Gracie Abrams look like an orphan.\u201d)<\/p>\n

Claire Cottrill, who performs as Clairo, is another young star who has distanced herself from the nepo-baby charges by releasing some of the most vulnerable and elegant pop music of the past decade. Her father, Geoff Cottrill, is a marketing executive who\u2019s worked with Converse and Coca-Cola; Clairo, naturally, has been labelled both a nepo baby and an \u201cindustry plant,\u201d terms often used interchangeably in internet discourse to describe artists whose success is seen as owing more to institutional maneuvering than to organic public discovery. Her first record deal with FADER Label was scrutinized because its co-founder, Jon Cohen, had reported professional ties to Clairo\u2019s father. \u201cI definitely am not blind to the fact that things have been easier for me,\u201d she said to Rolling Stone,<\/em> in advance of her 2021 sophomore album. Some artists, like the Gen Z rock band Geese, have been pegged as industry plants despite not having famous or ultra-wealthy parents. Earlier this year, Wired<\/em> ran an article under the headline \u201cThe Fanfare Around the Band Geese Actually Was a Psyop.\u201d The investigation alleged that a digital-marketing company had engineered various social-media accounts and algorithmically enticing posts to push the band\u2019s critically lauded fourth studio album, \u201cGetting Killed,\u201d manufacturing a hype that otherwise wouldn\u2019t have emerged. The claim seemed to belie the fact that such marketing strategies are ubiquitous in today\u2019s promotional economy, a necessity for any aspiring artist, but it nevertheless tapped into a central anxiety in contemporary music fandom: whether the viral acts we encounter online are the results of grassroots cultural enthusiasm or the carefully arranged products of corporate influence. That Geese or Clairo makes good music seems almost immaterial; they didn\u2019t earn their success in the right way<\/em>, so the logic of social media goes, and thus their art appears tainted by the stain of false pretenses.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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An unignorable element of the nepo-baby-and-industry-plant online discussion is the discordance between the internet\u2019s perceived democratization of discovery and the industry mechanisms that still shape popular culture. A core promise of our current digital reality is that anyone, anywhere, can become famous, or widely beloved, based on talent alone. You post a song or a video, and soon, with nothing but the help of the benevolent algorithm, you are positioned before millions of fans. But the hidden variables that can dictate virality\u2014expensive recording equipment, proximity to major cities, the time and bandwidth to create and churn out online content\u2014favor those with safety nets and pre\u00ebxisting cultural capital. Whether or not the music has merit, an artist must contend with the myriad corporate forces that have the power to pick and choose what breaks through the online scrum, and what doesn\u2019t. It is enticing to wonder what story musician bio-pics will tell in fifteen or twenty years. How many more artists, realistically, will come from the mud, perform locally, and find themselves in the right place at the right time? The internet presents a new vision of this story, one in which the local stage is the algorithm, cycling through performers and one-trick ponies until, finally, the hive mind selects its favorite. \u201cIndustry plants don\u2019t exist,\u201d Stella Lefty\u2019s manager, Adam Alpert, recently said in defense of his client. \u201cYou have to make great songs that people like, and all these artists that people call \u2018industry plants\u2019 are having success because they\u2019ve done just that.\u201d A great song, beloved by all, plucked from the air like wind but aligning perfectly with market interests and chart trends: to quote from Lefty\u2019s smash hit, \u201cLast month, you were just another someone.\u201d\u00a0\u2666<\/p>\n

Read more Our Fauci Diaries, Ourselves<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Brady Brickner-Wood on Stella Lefty, Gracie Abrams, Clairo, Geese, and other artists with rich parents, a savvy social-media-marketing team, or both. <\/p>\n","protected":false},"author":1,"featured_media":1220,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41],"tags":[],"class_list":["post-1221","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-infinite-scroll"],"yoast_head":"\nStella Lefty and the Rise of Nepo-Baby Musicians and \u201cIndustry Plants\u201d - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=1221\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Stella Lefty and the Rise of Nepo-Baby Musicians and \u201cIndustry Plants\u201d - 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