Saturday, April 25, 2026 -Music streaming platforms are facing growing calls to remove the catalogue of D4vd following serious criminal charges brought against the artist.
Advocacy group Industry Blackout has launched a petition
urging platforms including Spotify and Apple Music to remove his music
entirely. In the petition, the group stated: “When an artist has been charged
with the s3xual abuse and murd3r of a m!nor, a child who was drawn into his
orbit through his music and public persona, continuing to stream, promote, and
profit from his catalogue is a choice. It is not a neutral one.”
The campaign, which has gathered hundreds of signatures,
comes after reports that several artists have distanced themselves from D4vd.
According to industry reports, collaborators including Kali Uchis, Holly
Humberstone, Laufey and Damiano David have removed joint works from streaming
platforms with support from Universal Music Group.
D4vd, whose real name is David Anthony Burke, was previously
signed to Darkroom Records under the Interscope/UMG label but was reportedly
dropped from the label months before charges were filed.
Video platform YouTube has also demonetised his account,
citing its Creator Responsibility policy and “off-platform behavior that is
harmful to YouTube’s community.” Despite the backlash, his music remains
available on major streaming services at the time of reporting, with no
official response yet from Spotify or Apple Music.
The controversy follows D4vd’s arrest last week and
subsequent charges, which include first-degree murder, continuous s3xual abuse
of a child under 14, and unlawful mutilation of human remains. He has pleaded
not guilty and is currently being held without bail.
Prosecutors allege that the victim, Celeste Rivas Hernandez,
14, was killed in April 2025, with her remains later discovered in a vehicle
linked to the defendant several months afterward.
The case has intensified debate within the music industry
about the responsibilities of platforms when artists face serious criminal
allegations, and whether continued distribution of their work constitutes
implicit support
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