FEATURE: Gender inequality is still a problem in the music industry

As many female musical figures feature on our screens and across streaming platforms – Beyoncé, Ariana Grande, and Lizzo for example – it can be hard to believe that issues of gender inequality run deep in the music industry. Discussions about sexist attitudes and the underrepresentation of women at all levels of the music business are rarely heard, especially involving major labels and executives.

The music industry is still as male-dominated as ever, and women still face gendered obstacles to success.

A report by the Annenberg Inclusion Initiative found that, as of June 2021, only 2% of music producers and 12.9% of songwriters were female, calling attention to the shocking lack of female representation within the music business. Women in music face many obstacles in accessing top jobs, particularly in the technical fields of music production, as they tend to be pushed out of the predominantly male networks and industry contacts which are key to boosting careers.

It is not just these barriers to entry that women in music face. Those who succeed in pursuing a career in the industry face sexist attitudes, sexual harassment, and pay disparity all too often. These problems make it more difficult for women to feel like their work is valued and creates an unpleasant environment which may discourage many from seeking or continuing employment in the musical arts.

Progress made regarding these issues has been limited at best. A 2022 report by MIDiA Research revealed that the majority of women in music feel that issues such as gender exclusion from technical areas, sexual harassment and objectification, and diversity in executive roles have made no improvements between 2021-2022.

Breaking these barriers, and making music a more diverse and equal business, is not only necessary for female creatives but is vital for the evolution of musical arts. The exclusion of women from important roles means that music presents only a male perspective; men ultimately decide what ‘music’ sounds like, what is recorded, released and performed, and who wins at music award shows. Including female perspectives and contributions adds new levels of creativity to the musical arts and is important to its development as an art form and an industry.

Projects aimed at boosting the prospects of women in music and tackling the gender divide have been steadily making an impact.

The non-profit organisation Women in Music is devoted to overcoming these gendered barriers and has assisted women in musical arts across the world for nearly four decades. By offering education, support, and recognition, WIM aims to advance visibility and opportunities for women, opening up more pathways for them to advance their careers in the music industry. Providing meaningful structural support and resources is an important way of fostering gender equality – directly tackling the institutional barriers for women is the only way to remove them.

As important as these projects exclusive to promoting women in the music business are, the industry and its problems do not exist outside of society. Wider gendered realities present in society inextricably impact the gendered experiences seen in the music industry.

Greater pressures on women to take on child raising, for example, make women more vulnerable to the ‘gig economy’ nature of a creative industry such as music. In the previously mentioned study by MIDiA Research, 53% of those asked noted that gendered judgement about the time given to parental or caregiving duties was a significant problem they faced within the music business. In this sense, a broader notion of social change in gender perceptions and gender roles is necessary for improving the status of women in music.

The music industry in 2022 still has a long way to go to boast a business past gender inequality and sexist attitudes; to be an industry where women hold decisive roles, and the powerful female musicians we see are not merely performances of female influence. Moving toward this reality will require combining specified projects tackling the structural barriers in the music industry that impede women’s careers, with broader movements of social change.

It is also important to consider moving past the binary questions we ask of men and women in music. Race, income level, and sexuality also intersect and amplify the problems that different women face, and it is essential to diversify the music industry in all these aspects. Promoting a space that allows people of all identities to have meaningful creative input, one free from judgement and harassment, will enrich music both as a business and as an art form we all enjoy.

Edited by Jemma Snowdon