“Give it no time of day”: Artists on how to tackle misogyny in the industry
I’m completely surrounded by women in music, and they leave me inspired and in awe almost every day. I know songwriters, musicians, and producers who make it difficult for me to contain their talent in Word documents. I know social media managers, artist managers, label managers, and event managers who push me to be better and to do more. I know writers, photographers and promoters who share my desire to shine a light on artists we believe in. And I know that every single one of them has faced misogyny at some point during their careers in music.
It’s no secret that the music industry is a boys club. And it’s not an exaggeration to say that every woman who works within the sector, whether they’re in marketing, in the studio or on-stage, has been subjected to misogyny of some sort. Maybe a sound engineer assumed they were less knowledgeable about their instrument than a male counterpart. Maybe a male manager consistently dismisses their ideas without cause. Sometimes it arises blatantly, but it also hides itself in everyday interactions, it crops up and reminds you that the music industry was made for men.
Earlier in the year, a report carried out by the Women and Equalities Committee collated and validated these personal experiences, finding that misogyny in the music industry remains endemic. Discrimination, a lack of opportunity and sexual harassment continue to affect women working within the industry, while the culture and systems in place silence those who would otherwise talk about their experiences.
This culture of discrimination and dismissal has been allowed to survive, and even thrive, for far too long, and even the UK government have validated it. Despite the results and recommendations that were reported, the government elected to reject all of it. Although their response stated that “everyone should be able to work in the music industry without being subject to misogyny and discrimination,” they decided not to take on board the recommendations that the Women and Equalities Committee had shared.
This decision only proved that the misogyny within the industry runs deep, beyond venues and offices and into the government. During Manchester’s Beyond the Music conference, we spoke with a number of upcoming artists about how we can tackle the ongoing and ingrained misogyny within the industry.
“It is very ingrained,” shared Martha Daniels, drummer for post-punk outfit Alien Chicks, “And I’ve got used to the little comments or the surprise from sound engineers when they see I’m a female drummer and then see that I can actually play quite well. I challenge them when I can and I think it’s important to, because often people don’t realise unless you point it out.”
“It’s only been a handful of times where I’ve felt really uncomfortable, though,” Daniels added, “And that’s been when I’ve been hit on in a really creepy way by older men at gigs. I usually challenge that, too, but it’s sad to think that some female musicians wouldn’t feel able to. I think part of the problem is that men think that because you’ve put yourself out there on stage, you’re fair game to flirt with, or you’re asking for creepy comments.”
Psych-rockers The Wytches also shared the importance of calling out misogynistic behaviour wherever possible, urging bands to stop shows if they spot anything inappropriate or uncomfortable in the crowd. “Our crowds are generally really good at looking out for each other,” they acknowledged, “But occasionally, we have had to have a quick word to make sure everyone’s alright. I think that’s the only way to start to change things but it needs to come from the men already in the industry for it to make a difference.”
“Give it no time of day,” added London-based singer Blossom Caldarone, “if you sense or see it, call it out. Through conversation lots of issues can be remedied, and people’s mindsets changed for the better, and this is the aim.” While the songwriter acknowledged that there are varying levels to people’s misogyny, she suggested that those more subtle instances can often be “discussed and explained” without leading to conflict.
Daniels from Alien Chicks suggested that this culture could stem from how male-dominated the scene can be, suggesting that targeting this could have a ripple effect on the industry. “I think encouraging other women to play music and supporting each other is really important,” they concluded, “I’m part of a big group chat where female and NB musicians help each other out, and in the future, I want to teach young girls to play drums.”
It’s certainly important to build and maintain those spaces that feel safe for women to support one another, something that Manchester-based experimental cellist Lili Holland-Fricke also highlighted as key in tackling misogyny. “It feels important to begin recognising and valuing the ways that women and non-men build eco-systems of support with each other,” she shared, “And realising that these networks are shining examples of ways we could make the music industry (and every industry) a safer place to be.”
“Instead of blindly adhering to male definitions of strength and success, which seem to govern our existing systems,” she continued, “We could start prioritising communication, support, inclusivity, sensitivity, and care in our work environments. If we redefine and rebuild while centring different values, it would take us to a different place. Audre Lorde and bell hooks and countless others have said it all before. We all just need to keep doing our reading.”
While those spaces made up of women and non-binary people are invaluable to feeling safe and supported in the industry, it is also vital that we include men in the conversation and encourage them to push for change alongside us. One of the ways that bands can do this when it comes to building their team, according to The Wytches, is by ensuring that the people they employ and surround themselves with are as diverse as possible.
“There are plenty of amazing women crew members out there,” they acknowledged, “Who deserve to be on tours, working with the same amount of respect a man would receive.” Caldarone also echoed this approach beyond the realm of artist team-building, stating, “And of course book, hire and employ women as much as possible.”
Hull-based artist Chiedu Oraka has followed this advice and acknowledged the influence that women in the scene have had on his own career trajectory, sharing, “My achievements are owed to the work of women who have carved a space for themselves against all odds: I was raised by a single mother alongside my sister who made a home for us on a North Hull council estate after immigrating from Nigeria, and the majority of my team, including my manager, are women.”
“As men,” he affirmed, “and as people with access to positions of power and influence, we have a responsibility to uplift female artists and industry professionals to a level playing field, confront misogyny when we see it, and make considered choices about how women are treated and represented.”
The conversation surrounding misogyny within the industry is not one that can be tackled easily, nor by one person or one group in particular. It’s an issue that needs targeted attention from everyone working within the sector, from artists selecting their teams to male managers at labels, music magazines, promotion companies and everything in between. Women and non-binary people will always be organising and fighting for their place in the industry, but we need men to fight for it, too.
