Laufey, the Grammy-winning Icelandic jazz-pop sensation, has officially parted ways with Wasserman, becoming the latest high-profile artist to exit the embattled talent agency following the revelation of Casey Wasserman's connections to the Jeffrey Epstein scandal. Multiple industry sources confirmed the departure to The Hollywood Reporter, though the exact timing and motivation remain subject to speculation.
The separation comes as Wasserman's eponymous agency grapples with an unprecedented crisis triggered by the release of the so-called Epstein Files, which documented the talent mogul's two-decade-old communications with Ghislaine Maxwell. While it's uncertain whether Laufey's decision directly stems from the controversy or was already in motion beforehand, the development adds significant pressure on an organization already hemorrhaging clients.
According to one insider who spoke with THR, news of Laufey's impending exit had circulated prior to Casey Wasserman's dramatic announcement on Friday evening that he intends to sell his agency. The Icelandic artist, currently performing across Europe on an international tour, has maintained public silence regarding the matter since the scandal erupted several weeks ago. Her management team at Foundations, which also guides the career of superstar Chappell Roan, has similarly declined to issue official statements, leaving fans and industry observers to draw their own conclusions about the timing.
The departure of Laufey represents more than just another name on the growing list of exiting talent. As a critically acclaimed artist who has successfully merged jazz traditions with contemporary pop sensibilities, her exit signals that the crisis is affecting performers across genre boundaries and career stages. The agency now faces the daunting challenge of retaining its remaining roster while simultaneously trying to maintain its market value during a highly publicized sale process. Every client loss potentially weakens its negotiating position with prospective buyers.
The Exodus Gains Momentum
Laufey joins a distinguished group of artists who have either terminated their relationships with Wasserman or publicly threatened to do so. The movement began gaining traction when Chappell Roan, one of pop music's brightest rising stars, announced her departure with a powerful statement that resonated throughout the industry. "No artist, agent or employee should ever be expected to defend or overlook actions that conflict so deeply with our own moral values," Roan declared on social media last week, articulating a sentiment that many apparently shared.
The ripple effect has been substantial and swift. Orville Peck, the masked country music outlaw known for his distinctive baritone and enigmatic persona, has severed ties. Electronic music producer John Summit, who has become a dominant force in the festival circuit, has also departed. Indie rock band Wednesday, whose star has been steadily ascending in alternative circles, joined the exodus. Even athletes are distancing themselves, with retired soccer legend Abby Wambach confirming her exit from the sports representation division, demonstrating how the scandal transcends entertainment silos.
This collective departure creates a compounding problem for Wasserman. In ordinary circumstances, talent agencies expect some client turnover as artists evolve and seek different strategic partnerships. However, the current situation is anything but ordinary. With the agency officially on the market, each high-profile exit potentially diminishes its valuation and makes it harder to attract new talent. The optics of a mass departure could deter prospective buyers or significantly lower the purchase price, turning a reputational crisis into a financial catastrophe.
Casey Wasserman's Defense and Decision
Faced with an escalating crisis, Casey Wasserman addressed his staff directly in a memo obtained by THR on Friday night. He acknowledged that he had "become a distraction" from the company's operations and that his presence was now detrimental to the organization's health. The most significant revelation was his decision to sell the agency he built, a move that effectively ends his leadership of the entertainment representation world he helped shape.
In his communication, Wasserman attempted to minimize the nature of his association with Epstein and Maxwell, describing their interactions as "limited" and occurring years before their criminal activities became public knowledge. "It was years before their criminal conduct came to light, and, in its entirety, consisted of one humanitarian trip to Africa and a handful of emails that I deeply regret sending," he explained, framing the relationship as brief and naive.
The talent executive expressed remorse for the collateral damage his past associations have created. "I'm heartbroken that my brief contact with them 23 years ago has caused you, this company, and its clients so much hardship over the past days and weeks," Wasserman stated. However, this apology has done little to quell the outrage, particularly given the detailed nature of the communications that surfaced in the files. The discrepancy between "handful of emails" and the characterization of those emails as "flirty" by media outlets has left many unsatisfied.
The released emails, described as "flirty" by multiple publications, were exchanged when Wasserman was approximately 20 years old. While he frames them as youthful indiscretions, critics argue that any association with Epstein's network—no matter how brief or historical—represents a serious lapse in judgment that calls into question his suitability for leadership roles. In an industry increasingly sensitive to power dynamics and ethical conduct, such connections prove difficult to explain away.
Olympic Ambitions Under Fire
The controversy extends beyond the entertainment industry into Wasserman's other major professional commitment: his role as chair of the organizing committee for the 2028 Los Angeles Olympics. Last week, the LA28 board publicly affirmed its continued support for Wasserman, creating a stark contrast with the entertainment world's reaction and highlighting the different standards applied across sectors.
However, political pressure is mounting. Los Angeles Mayor Karen Bass broke ranks with the Olympic board on Monday, stating publicly that Wasserman should step down from his LA28 position. "The board made a decision. I think that decision was unfortunate," Bass told reporters. "I don't support the decision. I do think that we need to look at the leadership." This political divergence creates a complex scenario that could ultimately force the board's hand.
The Olympics represent a massive civic project requiring broad public and political support, and having a controversial figure at the helm could complicate fundraising, community relations, and overall momentum. The Games are too important to Los Angeles to risk controversy overshadowing preparation. If political pressure continues to mount, the LA28 board may be forced to reconsider its position, regardless of its current support.
Industry-Wide Implications
The Laufey departure and broader Wasserman exodus reflect a fundamental shift in how the entertainment industry handles ethical controversies. In previous eras, powerful executives could often weather scandals with minimal long-term career damage, protected by institutional inertia and industry relationships. Today's landscape, shaped by social media activism and increased awareness of power dynamics, demands more immediate accountability.
Artists now wield unprecedented leverage in these situations. With direct-to-fan communication channels and alternative representation options, performers can quickly mobilize public opinion and take decisive action. The speed with which Roan's statement galvanized other artists demonstrates this new power dynamic, where a single social media post can trigger an industry-wide response.
For talent agencies, the crisis serves as a cautionary tale about the importance of due diligence—not just in client selection but in leadership integrity. The entire business model depends on trust, and once that trust is compromised, the foundation crumbles rapidly. Agencies must now consider how to insulate themselves from potential controversies involving their executives and how to respond when historical associations resurface.
The situation also raises questions about redemption and accountability. While Wasserman describes his contacts as minimal and from a different era, the nature of the Epstein case—involving systemic abuse and trafficking—leaves little room for public forgiveness. The entertainment industry, which has grappled with its own #MeToo reckoning, appears unwilling to make exceptions for those connected to Epstein's network, regardless of the passage of time.
Looking Forward
As Laufey continues her European tour, her future representation remains unannounced. The Foundations management team will likely guide her toward a new agency partner that aligns with her artistic vision and ethical standards. Given her rising star power and critical acclaim, she should have no shortage of options, and her departure may ultimately strengthen her brand by aligning with fan expectations.
For Wasserman, the path forward involves navigating a complex sale process while managing continued departures. Potential buyers will need to assess not just the remaining talent roster but the long-term reputational damage and whether the Wasserman brand can be rehabilitated under new ownership. The agency's infrastructure and relationships still hold value, but the premium price Wasserman might have commanded before the scandal now seems unattainable.
The Olympic role presents another uncertain frontier. If political pressure continues to mount, the LA28 board may be forced to reconsider its position, regardless of its current support. The Games are too important to Los Angeles to risk controversy overshadowing preparation.
This saga underscores a broader cultural moment where historical associations are subject to contemporary scrutiny, and where artists increasingly prioritize alignment between their personal values and professional partnerships. For an industry built on relationships and reputation, the Wasserman case may well become a defining example of how quickly fortunes can change when ethical lines are crossed, and how the power balance between artists and executives has fundamentally shifted in the digital age.