DOGMA Has Their Australian Performances Postponed By Promoter, Hardline Media, Because “They Only Want To Promote The Band We, And You, Thought We Were Getting”
2025 was the year of havoc for band drama – Cradle Of Filth, Jesus Piece, As I Lay Dying, Mastodon, and The Amity Affliction had a rough go, just to name a few – and it seems like Dogma is starting to fight for first place on the messiest situation yet. After three ex-members of the nun-themed metal group called out “the person who now controls the project,” saying that he betrayed “the artists, his partners, and the fans,” in late October, the last two weeks have snowballed into meteor-size ball, barrelling down at full speed. Elaborating that the three witnessed during tours “unilateral decisions, broken promises, manipulation, mistreatment, and lies to the fans. The person who now controls the project is a threat to Dogma’s future and is not an artist or a musician. He turned a band into a brand, and people into disposable pieces. He betrayed the artists, his partners, and the fans.”
The next day, multi-instrumentalist Absinthe Green stated that she had auditioned for Dogma, and the two men in control of the project put her off.
Then, two days later, on October 30th, one of the three ex-members, guitarist Patri “Rusalka” Grief, put out an even lengthier statement about just how bad the working conditions were during her time in Dogma, stating that the reason she was no longer in the band was because Dogma‘s manager and management did not even attempt to secure them the correct visas in the US, leading to Grief and the band’s new singer to be interrogated, detained, and put on a flight home 48 hours later, to which the management didn’t even apologise, just let Grief know they had found a replacement. That, on top of the fact that Grief was told, “‘Do you think I’d still hire you if I had more money? Sorry to say, but the minute I can start paying more, I gain access to the people who charge more,'” was more than enough for her to put in her resignation as Rusalka.
The same day, another possible vocalist for Dogma, Kim Jennett, decided to weigh in with her side of the story, illustrating the fact that the contract she was offered to be a part of Dogma was “insulting” and close to “slave labour.” “What makes me sick about all of this is the anonymity,” Jennett started about the status of Dogma, “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.”
Five days later on November 4th, the trio of ex-members put out a statement saying that Dogma’s management had been contacting fan pages, trying to win favours.
And it seemed like all was quiet on the Dogma front – for a whole ten days – before a second of the three members, ex-guitarist Amber Maldonado, had a statement of her own, allegeding that despite keeping her head down while touring, she was forced to buy the band and crew food with her own money: “Outside of playing, soundchecks, and meet and greets, I kept to myself, quietly reading in my bunk. Despite this, treatment from management only got worse. Management would not prioritize purchasing food. I eventually WALKED to Walmart to purchase the necessary food for the band and crew for the next month with my own money.”
The next damn day – again – a guitarist (Alice Chiara) that performed with the band during Wacken Open Air festival in 2025, posted a statement of her experiences with the band over the summer,
As to be expected, there’s been some significant fallout from the sequence of events, with fans livid at Dogma‘s management, essentially demanding answers amid their shoddy statement, so it was only a matter before people started jumping ship. The first to go overboard is Dogma‘s Australian tour promoter, Hardline Media, who just announced that they postponing the upcoming Australian dates because “we only want to promote the band we, and you, thought we were getting.”
Posting the following statement to Instagram, Hardline Media made it clear they weren’t going to support Dogma until this situation has been dealt with:
“Dear Dogma fans,
Due to the current situation unfolding, we are postponing the Australian shows for now.
We only want to promote the band that we, and you, thought we were getting.
We will do all we can to make this happen, but this will take a little time. Please hold onto your ticket for now while we try and sort this for you.
If we cannot make this happen, refunds will be processed – but we need your support to make this happen. A big way of showing your support is holding onto your ticket, which will allow us to navigate this to a positive outcome where you, the fans, get what you paid for.
Much Respect,
Hardline Media”
Want to know exactly what’s transpired – that we know of so far? Check it out from the top.
October 27th – Ex-Members Of DOGMA Call Out “The Person Who Now Controls The Project,” Say He Betrayed “The Artists, His Partners, And The Fans”
2025 feels cursed in so many ways. And a lot of bands are feeling the impact. Bands are just completely trading drummers with one another, individual musicians are leaving due to toxic work environments, and some bands are just straight up scrapping for no damn reason.
For three members of Dogma, however, there are a few pretty damn good reasons to leave the group. Vocalist Grace Jane “Lilith” Pasturini, guitarist Amber “Lamia” Maldonado, and guitarist Patri “Rusalka” Grief have announced their departure from Dogma, citing manipulative management that turned “a band into a brand, and people into disposable pieces.”
The news broke yesterday afternoon when Dogma, and the departing members, posted a collaborative statement to their socials, stating: “THE FANS DESERVE THE TRUTH.
“We were part of Dogma. We loved this project, but what’s being sold today is not Dogma. During the tours we saw unilateral decisions, broken promises, manipulation, mistreatment, and lies to the fans. The person who now controls the project is a threat to Dogma’s future and is not an artist or a musician. He turned a band into a brand, and people into disposable pieces. He betrayed the artists, his partners, and the fans. Dogma was born from connection, from the music, from the stories we shared with you.
“Replacing people without honesty isn’t who we are. Dogma is meant to push the ideals of freedom and liberation, none of which can exist without integrity and honesty toward the fans and everyone involved in the project. We don’t want to see more fans deceived, spending their money and devotion on something hollow. The real Dogma stands here, with those who created that connection for real.
“But the power isn’t in our hands. It’s in yours. It always has been. You decide who deserves to keep the music alive. No manager can control that. Make your voice heard. Don’t support a lie. The social networks using the name Official Dogma no longer represent the real band or what we stand for.
“Demand transparency. Ask for refunds if you weren’t given what you were promised. Don’t let anyone manipulate you. Also, no more masks. Masks were meant to protect identity, not to replace people. The only one who needs to take off the mask is him. The power to change this story starts with your support. We will keep going. The music, the creativity, and the truth are on our side. We put our souls into this project, and that’s why you were able to connect with us. No manager should be allowed to strip that away.
“Lilith, Lamia & Rusalka”
There have been no updates, comments, or statements from their management, or the two remaining members – the bassist and drummer – in the meantime, but with the way 2025 is going and how much shit is hitting the fan, it feels like a matter of time.
Check out the statement below.
(Not Covered) October 28th – ABSINTHE GREEN Says She Auditioned For DOGMA, And Well, The Management Scared Her Off
Multi-instrumentalist and singer Absinthe Green put out a statement the day after Dogma, essentially backing up their story. Recounting how Green auditioned for Dogma back in 2022, she said that the ethos of the band didn’t quite match up to what was being shown.
Writing on Instagram, “Back in 2022 I almost became the vocalist of Dogma.
I’m writing this today because of what’s happening with Dogma, and because I’m honestly tired of seeing women in this industry being mishandled, exploited, and silenced.
I stand with @gracejane_music ,@patrigrief and @aveya.music.
Recently members of Dogma announced they’re leaving the band. Their statement said it all: there’s manipulation, broken promises, mistreatment, and that the person who controls the project is treating people like disposable parts.
When I saw that, I wasn’t surprised. I almost joined this project back in 2022. They reached out, everything was very secretive, I auditioned, I got the songs,and I was very close to becoming their vocalist. But something felt off from the start.
The project was led by two men. One was a known name in the industry, and the other was the unnamed composer in the shadows , the one who had the final say on who would be accepted into the band after the auditions. He was the invisible hand behind the curtain, the one you never saw but who made the decisions that mattered.”
“2/ They told me Dogma was about liberation and feminism, that the concept was built around these seductive rebellious nuns fighting against control and hypocrisy. Sounded interesting at first. But then I got the lyrics.
The songs were about a nun edging a priest, another about her getting off with a corn cob in a convent kitchen. I remember reading that and thinking, what the hell is this? They said it was about “female freedom” and “empowerment,” but it was obviously written from a man’s fantasy point of view.
And let me be clear- I have no problem with the nature of the lyrics themselves. I’m not against erotic or provocative art. What bothered me was that this didn’t come from a woman’s perspective. I don’t mind being a soldier in someone else’s project, following direction, doing the work. I’ve done that for years, and I’m good at it. Sometimes it’s even refreshing to just play, to perform without worrying about all the strategy and production behind a project. But this felt different. It didn’t feel artistic. It felt like getting pimped by guys and over-sexualized in something that was pretending to be feminist. That’s not liberation. That’s cheap “marketing.””
“3/ The biggest “problem” for them with me was that my body is covered in tattoos. Even dissecting my photos, checking all the tattoos that needed to be concealed. And because the whole concept demanded anonymity, that became a huge issue. We weren’t allowed to show any piece of our personal identity. They were trying to figure out how to cover my tattoos completely for every show so that no trace of who I am could be seen. It was like being erased.
In the end, I didn’t join because my gut was telling me something was wrong, my partner felt the same. The project required me to travel very far, and at that point, I had already committed to my own projects , including Absinthe Green. Looking back, I’m so glad I trusted that instinct. When I gave my answer, there have been mentions also that maybe I could join in the future, or maybe they could even keep me in mind for the role of the bassist, as it looked like they had problems with their bassist at that time. Everyone was replaceable.
But I’ll be honest, maybe if I was younger and more inexperienced, I wouldn’t have sensed it. I would have probably been too excited, too eager to say yes, and too blinded by the opportunity to see through the bullshit. Maybe I would have joined, and maybe right now I would have been the one making this statement, walking away from the same kind of manipulation and control.
And now, seeing what’s coming out, I know I made the right choice.”
“4/ It’s disheartening, though, to keep seeing this pattern. Men dressing up exploitation as art, turning women into brands, using words like “empowerment” while pulling all the strings behind the scenes. I’ve seen it too many times.
I really wish we could start talking about this openly. Not just about Dogma, but about the way women are constantly used and discarded in this scene. It’s everywhere. From so-called managers, producers, musicians, and label people. It’s exhausting.
This is my call to all femmes, musicians, artists, anyone in the scene: speak up. Support each other. Stop being afraid of losing opportunities or getting blacklisted. Silence protects abusers.
I know posting this might cause problems for me, but I don’t care anymore. I’d rather tell the truth than keep pretending this is normal. It’s not. And this is nothing compared to what me and other female musicians and colleagues of mine in this industry have gone through and had to endure. Unfortunately, we have stories to tell, and many of them have exactly the same pattern.
We need to reclaim our space.
We need to stop letting men sell our rebellion back to us as fantasy.
And we need to build something real, where women aren’t just decoration for someone else’s brand.”
October 30th – Ex-DOGMA Guitarist Further Accuses Band Management Of Misogyny & Callousness
Things are clearly not going well in the Dogma camp. Yesterday we published a story regarding the less-than-friendly departure of vocalist Grace Jane “Lilith” Pasturini, guitarist Amber “Lamia” Maldonado, and guitarist Patri “Rusalka” Grief who cited manipulative management that turned “a band into a brand, and people into disposable pieces.”
Today, Grief is back with a much lengthier statement and it really doesn’t paint a sunnier picture of the band or whoever’s in charge of things: “The Rusalka that once was, and will always be. Hey guys. Rusalka (Patri Grief) here. I wanted to talk a little bit more about the recent events, what happened, why it happened, and shed some light on the situation.
“In November 2023, I was contacted to be part of Dogma; I immediately fell in love with the project. I instantly fell in love with the aesthetic and songwriting. It seemed like a once in a lifetime opportunity. I was hired as Rusalka, and the adventure began.
“You might already know how much I put my soul into this project, always bringing ideas, collaborating with my drawings on drumheads and cards, going to the merch booth every single night, and overall, defining who Rusalka was. Rusalka is based on a very, VERY personal thing that I went through, and I somehow felt the fans really connected to the character in multiple ways.
“Rusalka was unhinged, crazy, slightly creepy, but always supportive and there to listen. Several of you reached out to me through the character’s account seeking help, which I was always happy to give. Some very personal information was shared, from the fans and from me, yet the account was taken away by the management the minute I was not admitted into the United States.
“I gave my everything into this project because, even if things felt off with the manager. I kept thinking ‘you’re doing this for them, and you’re doing this for the teenage Patri who needed you the most.’ I believed Dogma was about ‘giving a voice to those who don’t have one,’ which resonated with me. As a child, I always wanted to become a professional musician specifically for that reason: to give shelter.
“I hid in music when I needed it the most, and I wanted to return the favor. With that in mind, I went to the merch table every night, read every fan message, and answered all that I could. As the character evolved, so did I. The fans that I met — I wouldn’t even consider them as fans, but friends. I was, and still am, willing to give my all to them.
“This management took advantage of my kindness. I was willing to do so many things for free, and, of course, I barely received a ‘thanks’ in return. But the minute I set a boundary (as in, ‘Hey, I’d rather not let you use my gear without permission’) I was met with ‘you’re showing that you’re not committed to the project.’
“The minute I said ‘Then why would I be helping with the merch? Why would I be assisting the two new guitarists, if I was not committed to the project?’ I received a ‘I paid you accordingly.’ I was given a 100€ tip at the end of three tours, which, as you can imagine, doesn’t even match the minimum salary for the work that I had been doing. But still, it’s fine, because it was my idea, and I never did it for the money in the first place. I did it for you, for me, and for Rusalka, as she was born from the crazy and misunderstood.
“He used the fact that he tipped me to make me shut up, and then he said that it would be better if I stopped doing it for this US tour. He’d rather stop the connection between musician and fan than recognize the efforts I put into the band.
“The reason why I am no longer in the band is rather simple: I wasn’t accepted into the United States because management wouldn’t provide the proper VISA. I watched another member get kicked out simply for asking for the correct working VISA, so it seemed pretty clear to me: either go on tour, or be replaced.
“There was no other option. I flew to the US with the person who was supposed to be the new singer. We were both interrogated and detained. They took our phones (you can imagine how worried my family was), belts, earrings, and even our shoelaces. After 48 hours, we were sent back home.
“The minute I turned my phone back on, I had a message from management saying ‘hey I found a replacement, could you teach her the songs?’ Not even an apology for taking the risk! Only him asking for more. When I got back home, I told him that I was detained for 48 because of his poorly made decision, to which he answered ‘nobody forced you to do so. It was your decision, and you got caught because you were wearing a Pirate Queen t-shirt under your hoodie.’
“I was done. I was done because throughout all the fours, I’ve had to deal with eating only twice a day because he didn’t want to provide three meals. Every time I voiced my concern, I was shut down with the response of ‘no band ever demands that kind of thing,’ while seeing bandmates cry under conditions that we accepted because of the opportunity. Every time I tried to discuss issues, I was met with gaslighting. I was treated poorly for having discussed the contract with another bandmate in order to receive better conditions.
“I was unable to organise anything in my life because of multi-month tours being planned with little notice. I was pressured into buying a piece of gear (aside from the guitar) that was ‘mandatory’ which ended up not being necessary at all, it was instead used to carry vinyl and CDs instead of my guitar without my permission. The response? ‘Nobody forced you to do so, it was a suggestion.’
“I was told ‘Do you think I’d still hire you if I had more money? Sorry to say, but the minute I can start paying more, I gain access to the people who charge more.’ Any time anyone expressed frustration with the situation, the response was ‘They need to f*ck to be calm’ or ‘They complain too much because they’re women.’ I was sick of him putting us down in order to keep us small and silent.
“Despite all of this, being a touring musician has always been my dream, and I loved Dogma, the idea, the concept, the character I played, and the possibility of giving to Music at least a little bit of what Music gave to me when I needed it most.
“Grace, Amber and I are not letting you down, and we will stand up for ourselves and the music we play. This management still has outstanding obligations, as ultimately it was his responsibility to provide what was required for a safe work environment. He failed to do so in a gross negligence which cost me and a poor girl — who didn’t even get the chance to sing one show after spending 48 hours in detention.
“It was a trip that led to nothing but disappointment. I was disappointed to see how easily replaceable we are, to see my character played by someone else who is using a playback at a live show that fans can’t even record, all because he is trying to hide the fact that he is selling something fans didn’t pay for.
“And, to add something rather cheesy and petty to my statement, I will say, in Dogma‘s usual mystique, but without any AI behind my words: ‘We were joined together in a dark ritual of music and blood, we went through sacrifices that you yet don’t know. Our voices will not be silenced, as, as far as we now talk with our cursed spirits, we will prove to you, sooner than you think, that the staves have already been drawn, the harmony is set, and the hexed melody of the coven is dying to be released’.
“Your support means the world to me. To us. I’ve read every single message, and, in all honesty, several of you had made me cry. Nothing new, though, as, since the beginning, while you admired the band from afar, I admired you back from the shadows.”
October 30th – Vocalist Slams DOGMA Over Allegedly Awful Contract: “The Contract I Was Sent Was One Of The Most Insulting Things I’ve Seen In My 15 Year Career”
It’s been a shit week for the folks behind Dogma. It all started when vocalist Grace Jane “Lilith” Pasturini, guitarist Amber “Lamia” Maldonado, and guitarist Patri “Rusalka” Grief announced their departure from Dogma, citing manipulative management that turned “a band into a brand, and people into disposable pieces.” Grief then elaborated on her reasons for quitting, all of which sounded pretty grim.
Now vocalist Kim Jennett has come forward with more allegations and it’s all pretty bad. Jennett auditioned for the band in 2024 and even received a contract, at which point she backed out because it was all pretty bad. Jennett posted the following statement on Facebook regarding Dogma and their allegedly bad business:
“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:
“1. 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.
“2. 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.
“3. $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.
“4. 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.
“5. 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.
“1. 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.”
(Not Covered) November 4th – DOGMA Management Attempts To Do Damage Control; It Doesn’t Go Well
We’re not done yet. The band came out a few days after their initial stories to ask people to let them know if Dogma‘s management had contacted them, attempting to do damage control:
“First, we’d like to thank you for the support you have shown us over this chaotic week. Each one of your comments and messages has given us the motivation to keep pushing for justice.
Management has been messaging fan club leaders and private fans in order to intimidate them to take his side. Fan pages should be organic and naturally occurring, not another entity controlled by management. We are calling for an end to this harassment; no one deserves to be bullied or intimidated.
Management has also been disclosing personal information of individual band members, including highly sensitive and protected information (sexuality, political stances, marriage status, pregnancies, etc.) under paragraph 9 European GDPR, to fans. Sharing this information without consent is illegal. If management discloses any of this information to you, please report it immediately. Furthermore, outstanding obligations have not been addressed.
Consequently, we are reminded of one of Dogma’s 13 principles: Be a person of integrity. We call for management to do just that. It has been stated by management that Grace, Patri, and I are not friends. We would like to clear up any misconceptions. We are friends. We met through the project, and over the various rehearsals, tours, and music videos, we forged a deep friendship. Yes, while on the road together, we’ve had good and bad experiences as any other band, but that does not shake the foundation of trust on which our friendship is built.
Lastly, we’re not finished. Grace, Patri, and I do not want to give up on each other, or on you. We know the artistic chemistry, passion, and camaraderie we share is special. Therefore, we will continue to work together to bring you music that will make you proud.
No dream is too big to accomplish.”
November 12th – Ex-DOGMA Guitarist AMBER MALDONADO Accuses DOGMA’s Management Of Manipulation, Abuse & Using AI Scripts For Interviews
This Dogma situation just keeps getting worse for the band’s management. It all started when vocalist Grace Jane “Lilith” Pasturini, guitarist Amber “Lamia” Maldonado, and guitarist Patri “Rusalka” Grief announced their departure from Dogma, citing manipulative management that turned “a band into a brand, and people into disposable pieces.”
Grief then elaborated on her reasons for quitting, all of which sounded pretty grim. That was compounded by some pretty lengthy allegations from former vocalist Kim Jennett, and now again thanks to Maldonado. In a new statement, Maldonado accuses Dogma‘s management of everything from abuse and manipulation to giving the band “pages of AI word salad” as a guide for their interviews.
“I consider myself an outspoken person, but this past summer, I held my tongue,” wrote Maldonado. “In February of 2022, I was contacted to audition for Dogma. Only an unreleased music video for ‘Father I have Sinned’ existed, but I was hooked. I had one week to learn the solos of ‘My First Peak’ and ‘The Dark Messiah’, which wasn’t too demanding except for the fact I had sliced my finger open and had fresh stitches. Nonetheless, I wanted this opportunity, so I layered on band aids and practiced.
“On the day of my 25th birthday, I was told I had made the cut. It all felt right. I had been on a social media tear, meticulously creating content and tracking my steady growth. I figured my efforts were finally paying off. One week later, I was flown out to Uruguay where I met the other girls, and we filmed ‘Forbidden Zone’ and ‘My First Peak’. Getting along with the other girls was easy and natural. That week, the music video of ‘Father I Have Sinned’ was released and we spent the night together celebrating.
“Our singer departed from the project officially a few months later and I was crushed. I was told by management she departed for personal issues. I wanted to respect her privacy, so I did not pry. A few months later, the album was finished and I set to work learning the parts. Meanwhile, the contract was finally sent to me. I discussed the pay with friends. For an unknown metal band without a finished album released, it was a little low.. The contract stated I needed management’s permission to quit. I amended this part.
“In September 2023, I went down to Argentina to film ‘Carnal Liberation’ and ‘Made her Mine’, this time, with a completely new line up. To my knowledge, the other girls had left due to life changes. Over the last year and a half, I had regular communication with management and I thought we were friends. Looking back, it was all a ruse: put on a good face to keep the one remaining member while focusing on replacing everyone else.
“In November, 2023, the album was released and now the only thing left was to go on tour, which I wanted more than anything. I got my wish in June 2024. Dogma‘s first tour. New singer, new guitarist, but that didn’t matter to me. I was just excited to finally take that next step.
“The tour began exposing management for the truth. I came home broken. I sprained my ankle in the middle of a show in Uruguay. When I left the stage to put on my crown for the ‘Carnal Liberation’ solo, someone had removed the ramp and I fell. I duct taped my ankle to finish that tour. My knees were bruised from the way my weight was distributed from wearing heels. When I asked to wear boots with a shorter heel to protect my knees, management told me no because I would look too short next to Rusalka. My whole body was tense from all of the emotional turmoil I had endured.
“A lot of people asked me why I didn’t cut my losses and leave. I had invested so many years, so many hours of practice, and given so much of myself into creating Lamia. I wasn’t ready to walk away. And most importantly, I didn’t want anyone to be able to take my dream away from me. I would be the one to decide when I was done, not anyone else.
“We went on our US tour in November 2024. I took a completely different approach to this tour: mind my business. Outside of playing, soundchecks, and meet and greets, I kept to myself, quietly reading in my bunk. Despite this, treatment from management only got worse. Management would not prioritize purchasing food. I eventually WALKED to Walmart to purchase the necessary food for the band and crew for the next month with my own money.
“March 2025 rolled around and I was contacted about doing a TWO month tour across Europe and Latin America. I had just started a new job, so I initially turned down the invitation. I was not the only one. I had previously been under the impression that we were the band, and if we were unable to tour, then the tour could not happen. Nope. That’s when we learned we had no say on whether or not the tour happened. We were only asked if we were going.
“Management manipulated me into the tour, telling me everyone said yes. If I wanted to play the Summer Europe tour, I had to say yes to this one because once I was out, I was out for good.
“Two weeks into the April tour, I knew I wasn’t coming back. I was playing shows every night, and then working my other job until 3am. No amount of keeping to myself stopped management from picking fights with me. If I had a stable income, management could not control me.
“Management kept instigating fights about my work schedule.. I was asked how I was compensating his company for the lost money from missing a meet and greet. I do those for free. How am I being compensated for the paid work I’m missing to play shows? On my days off from tour, I had to go out for interviews. I normally love interviews, but not when management writes pages of AI word salad I’m supposed to follow. I was never compensated for these.
“When we played Chile, Grace faced a host of technical issues. Directly after the show, we were all yelled at for nearly an hour. When I pointed out yelling was unprofessional, Management responded by saying I was unprofessional and projecting, because no other manager would put up with our shoddy job.
“We got into another fight with management because he wanted us to play the full album on a radio show for free, saying we were a family and should help each other out. That fight lasted almost 2 hours. Another manipulation tactic: wear down your opponent.
“In Brazil, we did not receive any daysheets. Management specifically forbade the Brazilian tour manager from sending them to us. This was another ploy to control us. If we didn’t know the times of our schedule, we could not have any independence.
“Touring was my dream, but it wasn’t worth this level of stress and mistreatment. For my health, I had to take a step back. The entire summer, I dreamt I kept trying to tell my story, and no one cared. I had to come to terms with the fact that I had been exploited for years. Why didn’t I say anything sooner? I knew if all of this started coming out during the Summer tour, management would take his anger out on the band. I waited until the time was right. That time is now.
“Since speaking out, I feel like myself again and in doing so, I’ve reclaimed my connection to music. Never let anyone silence you. Your voice matters.”
(Not Covered) November 13th – Wacken Air Festival Guitarist for DOGMA Weighs In On The Drama
And, most recently – besides from Hardline Media postponing the Dogma shows – another session musician has weighed in with her experiences as a session musician for the band.
“Hey guys, this is Lamia III (Wacken Lamia).
Thank you all for being so kind and supportive, even though I haven’t spoken until now.
I understand and support all the girls who went through this situation, and for this reason, I want to open up and stand by their side.
Being a session musician isn’t easy — respect is often hard to earn.
After my shows in Europe, I had no choice but to step out of Dogma about a month and a half ago.
During my last experience with Dogma’s management, I faced several issues, but my social networks are not the place for details.
What I want to express, though, is that the main reason behind my departure from Dogma was the U.S. tour, which I was supposed to play without being granted a work visa to perform there.
I was contacted just one month before leaving for almost two months of touring across the USA, Australia, and Asia. Later, I found out through social media that the upcoming April tour had been publicly announced without being shared with me beforehand, and that it would last an entire month. When I said I shouldn’t have to find out that kind of information from social media, I was told, “there is still time.”
The music industry isn’t easy. But even when the opportunity seems big, always respect yourself — especially when your work isn’t valued as much as it deserves to be.
Don’t let anyone treat you as if you’re disposable.”
