Black Women in Pop Deserve Better

Kelby Chichester

Black women pursuing acclaim in pop music have long been misunderstood throughout history. Many are overlooked or pigeonholed into R&B and soul. Others stumble on the path to stardom while still not being fully appreciated for their contributions. 

Black female pop stars pour themselves into an industry that does not always love them back.

That reality is difficult to ignore when considering Manon Bannerman’s recent departure from the girl group Katseye. The group’s labels, HYBE and Geffen, announced the news on Weverse, revealing Bannerman would take a temporary hiatus to “focus on her health and well-being.” Shortly after, Bannerman, the group’s sole Black member, issued her own statement that appeared to contradict the labels’ message.

“Hi, friends,” the 23-year-old wrote via Weverse messages. “I want you to hear this from me: I’m healthy, I’m OK and I’m taking care of myself. Thank you for checking in. Sometimes things unfold in ways we don’t fully control, but I’m trusting the bigger picture. Thank you for standing by me. I love you endlessly and can’t wait to see you again.”

Both statements sent shockwaves across the industry and online, prompting renewed discussion about the isolation Black women often face in pop girl groups. Bannerman’s departure is not just about one group; it reflects the music industry’s ongoing failure to fully support Black women in pop.

Katseye itself is the product of an experiment. Formed in 2023, the six-member group — Bannerman, Daniela Avanzini, Lara Raj, Megan Skiendiel, Sophia Laforteza and Yoonchae Jeung — emerged from HYBE’s K-pop-inspired competition series “The Debut: Dream Academy.” Bannerman, who is Swiss-Italian and Ghanaian, was the last to join. Already known for fashion content online, she was scouted directly, making her the only member not discovered through the show.

The group was built in part around her and while on the show it was shown just how many members disliked her simply for being favored and pretty despite how excited she was. In 2024, Katseye released its debut EP, “SIS (Soft Is Strong),” and its rise was documented in the Netflix series “Pop Star Academy: Katseye.”

The pressure was high for all members. But Bannerman likely carried a unique burden as the only Black member. In “Pop Star Academy,” her missed non important rehearsals became a focal point, leading some to question her work ethic. Despite this, she is the face and most popular of the group. 

“Being called lazy, especially as a Black girl, is not fair,” she told The Cut earlier this month. “Now I feel like I always need to put in extra work to prove something, even though I really don’t.”

Bannerman, who is from Switzerland, has said taking time off when sick is encouraged there. She described arriving in the United States as a culture shock, noting how often people continue working despite illness.

She was also seen liking an Instagram post that read, “Another Black girl subjected to racism and label mistreatment yet again.” Since the announcement, Bannerman has received an outpouring of support from fellow artists and fans. Her fanbase, known as “Pokemons,” has organized projects and called for a boycott of the group until her return. Fans have also circulated examples they say show a year of mistreatment, including exclusion from photoshoots, promotional videos and collaborative posts.

At the same time, some Katseye fans, known as Eyekons, have drawn criticism for their response. Some have used racial slurs, labeled Bannerman as lazy and compared her unfavorably to other members.

Speculation intensified after the father of member Avanzini reportedly wrote that “the show must go on” and that Katseye was “bigger than one girl,” comments that drew backlash from fans who felt they dismissed Bannerman’s situation. Leading to fans of other groups to come in to defend her, while also attacking Avanzini and her dance skills. Her father later retracted his statements after seeing the hate his daughter was getting on the internet. 

The group continued its promotional run at South America festivals, where crowds of fans chanted Bannerman’s name between songs. The group appeared visibly frustrated at times. None of the members have publicly addressed the situation, despite maintaining active presences online and frequently defending one another in the past. Yet every time it comes to Bannerman, its silence. 

The overwhelming support for Bannerman underscores a broader understanding of how inhospitable the pop industry can be for Black women. To be a Black woman in pop often means not being fully accepted, even within your own audience.

Whether solo or in groups, Black women in pop are long overdue for equitable treatment and respect. They deserve to be celebrated, to define their own paths and to express themselves freely, rather than be confined by stereotypes or industry expectations.

Bannerman has remained relatively quiet since announcing her hiatus, but she recently shared a message on her Instagram Story: “I love you all more than words can describe.” Whether or not she returns, the support she has received from fans and fellow artists highlights a clear truth: more Black women belong in pop, even if the industry has yet to fully embrace them.