Has the music industry let young pop stars down?

The demise of former One Direction star Liam Payne has sparked a debate about the responsibility of care in the music industry, notably for young individuals.

In certainly one of the strongest tributes to the singer, who died at the age of 31 after falling from a resort in Argentina final week, TV persona and former X Factor choose Sharon Osbourne mentioned: “We all let you down.”

Osbourne mentioned Payne was “just a kid” when he “entered one of the toughest industries in the world, and asked: “Who was in your nook? Where was this industry if you wanted them?”

More than 25,000 people have now signed a petition saying the entertainment industry “must be held accountable and be accountable to the welfare of their artists”.

Osbourne herself wasn’t a judge when Payne found fame on the show – he first auditioned at the age of 14 in 2008 before returning two years later and becoming part of One Direction. The rest is history.

While the boy band went on to achieve phenomenal success across the globe, Payne himself acknowledged that it came at a cost.

He admitted he used alcohol to deal with the stage of fame “as a result of there was no different method to get your head round what was occurring”.

US star Bruce Springsteen is among those who have now spoken about the negative impact of the pressures of fame in recent days.

He informed the Daily Telegraph that “young individuals do not have the inside facility or the inside self but to have the ability to shield themselves from quite a lot of the issues that include success and fame”.

“So they get misplaced in quite a lot of the troublesome and infrequently pain-inducing [things]… whether or not it is medication or alcohol to take a few of that stress off,” he mentioned.

“I perceive this very properly from my very own expertise, as I’ve achieved my very own wrestling with various things.”

Robbie Williams also acknowledged that he struggled with his own demons when he was 31. “By the grace of god and/or dumb luck I’m nonetheless right here,” he said.

The former Take That star called for more kindness and empathy from the public towards famous figures who might be going through difficulties. “Even well-known strangers want your compassion,” he wrote.

Could the music industry do more to help fledgling artists, and are things now changing?

Robbie Williams’ frequent collaborator, songwriter Guy Chambers, informed the Observer the industry ought to maintain again from working with performers who’re below 18.

“I do assume placing a 16-year-old in an grownup world like that’s doubtlessly actually damaging. Robbie skilled that, actually,” he mentioned.

Chambers added: “I do know in Robbie’s case, with Take That, there wasn’t any correct safety set as much as take care of what had been teenage boys. That was a very long time in the past, however I don’t see a lot signal of change.”

JLS star Oritse Williams, who also found fame on The X Factor, told BBC Breakfast there “is not sufficient responsibility of care”.

“It’s a troublesome, robust sport and you must have a really thick pores and skin,” he mentioned.

“When you have not lived life, to undergo trials and tribulations while being below the highlight is a really troublesome factor. And who’s there to help?”

Oritse Williams said he had been through his own problems since finding boy band fame. “You’re on the market alone on this loopy, loopy world, the place there are quite a lot of vultures. It’s robust to navigate.”

And Eoghan Quigg, who appeared on The X Factor with Payne in 2008, told 5 Live: “There must be extra help as a result of it is a fickle enterprise, particularly now with social media.”

One Direction came third in The X Factor in 2010, behind winner Matt Cardle and runner-up Rebecca Ferguson – who shared her “devastation” at Payne’s death.

She has beforehand mentioned she suffered exploitation and bullying in the music industry.

“I’ve spoken for years about the exploitation and profiteering of young stars and the results – many people are nonetheless dwelling with the aftermath and the PTSD [post traumatic stress disorder],” she wrote on social media.

Ferguson recalled getting a taxi with Payne to film The X Factor after meeting him at a train station.

“I can not assist however consider that boy who was hopeful and looking out ahead to his vivid future forward. If he hadn’t jumped on that prepare and jumped in that taxi I imagine he can be alive right now.”

And Katie Waissel, who also appeared on The X Factor in 2010, has long campaigned for better support for those who appear on TV.

She spoke to the BBC final 12 months about the “obscene quantity of stress” she felt under as a contestant on the show.

In response, a spokesperson for X Factor said “sturdy measures” were in place to support those involved in the show.

Speaking to BBC Radio 5 Live on Friday, she said young musicians were “naive” about entering into a reality television show. “It wasn’t clear what we had been getting ourselves into… no-one is aware of what to anticipate.”

Waissel called the music industry “very manipulative, coercive and deconstructive”, saying “it sucks the soul out of individuals”.

But talent manager Jonathan Shalit said things had changed since 2010.

“Fortunately… quite a lot of classes have been discovered. The responsibility of care again then wasn’t what it may have been [on reality shows in general]. Now the responsibility of care is appreciable.

“I think it’s very important to separate the emotions and the terribleness of what’s happened to Liam… That is many years after he left One Direction… On the flip side, some members of One Direction have gone on to have great success and great enjoyment in the lives. It’s not black and white.”

He acknowledged that “fame is not what it seems to be… you’ve got a million friends but you’ve got no friends”.

“I always say, artists are the most sensitive people in a very hard business.”

And music administration marketing consultant Marcus Anthony informed 5 Live on Sunday: “The music industry is aware that these thing need to be addressed, and big music events and conventions hold seminars and discussions about artist welfare and things are getting better.

“But some managers and labels will all the time prioritise the pound over the artist.”