New Allegations Made Against DOGMA’s Management By Musician Who Declined To Join The Band Over Contract Concerns

The controversy surrounding Dogma continues to unfold as another musician has come forward with new claims about the band’s management. Over the past week, multiple former members of the masked, all-female hard rock act have spoken out against the company overseeing the group, alleging manipulation, gaslighting, and mistreatment behind the scenes.

Former vocalist Grace Jane Pasturini (Lillith II) and ex-guitarists Amber Maldonado (Lamia II) and Patri Grief (Rusalka) were the first to make their allegations public on October 26th. In a joint statement, they accused the management company of controlling the project and making unilateral decisions at the expense of its performers.

Patri Grief followed with a more detailed personal statement, alleging that she was pressured into unnecessary purchases, underpaid for her contributions, and denied the proper visa to perform in the United States. Grief claimed she and another member were detained for two days due to incomplete travel documents and replaced without notice while still in detainment.

Now, Kim Jennett has shared her own account, alleging that she was offered the role of Lilith in Dogma in 2024 but declined after reviewing what she described as a “highly unfavorable contract.” Posting to Facebook on October 30th, Jennett expressed solidarity with the women who have spoken out and shared a detailed breakdown of the agreement she was asked to sign.

“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.”

At press time, Dogma’s official social media channels have not responded to Jennett’s statement. However, they previously issued a public statement addressing the initial claims made by Pasturini, Maldonado, and Grief.

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