Phoebe Bridgers on why The Strokes were an “industry plant”
The innovator of the sad girl genre, Phoebe Bridgers, never shies away from sharing her opinions on other musicians or conversations in the industry. For instance, she once said those who dislike The 1975 are “sexist” and that people trying to cancel Billie Eilish “can’t handle how cool she is”.
Interestingly, Bridgers also calls out The Strokes’ origin story, stating that they were an “industry plant” rooted in nepotism and wealth. The notion of an “industry plant” has been a contentious topic in the music industry, casting shadows over artists like Wet Leg. The band has faced numerous criticisms, often accused of rapidly gaining success through an allegedly orchestrated path facilitated by their network of connections.
While this may be true in some cases, that’s not to say it is always a bad thing. In the case of The Strokes, Bridgers highlights the underlying sexism that seems to excuse male artists while being harsher on women. She explains: “The Strokes are an industry plant – literally! Everybody knows that, at least in music, but it’s never made anyone like them less,” she told NME.
Continuing, Bridgers added: “It’s such an insane fucking double standard. If you have wealthy parents, you’re not allowed to make music as a woman, but you’re rewarded for it as a man. Every white boy who is mediocre is an industry plant by that standard.”
Later, during an interview with The Forty-Five, Bridgers expanded on this, saying: “People [say] that female indie rock stars were invented by a trust fund or something. It’s like, you know where The Strokes came from? Nepotism and wealth has always informed music. It has never not. You get more opportunities or whatever, it doesn’t mean that their music is bad. And if we’re gonna shine that light on women, fucking look around at the men whose parents bought them music as a career.”
The Strokes’ rise to fame is well-known, but whether or not they were an industry plant remains uncertain. The band members have all been candid about their privileged backgrounds, including frontman Julian Casablancas, who has previously discussed the fact that his father, despite being a wealthy businessman, did nothing for him in terms of boosting his career.
By definition, the label “industry plant” sticks if a deliberate strategy by promoters, press, and marketers secures an artist’s success. The Strokes struck luck by arriving at the perfect moment, equipped with the means to craft an album as impactful as Is This It in 2001.
However, they also had an advantage when considering the New York Scene they were a part of. Moreover, when you look into the moments leading up to the recording of Is This It, most of it happens organically. Bridgers’ comments undeniably come from a place of protecting women in the industry, which is completely respectable. However, likening The Strokes to an entity having financial and marketing backing from day one may be a reach.
