L
Last year, Kenya Grace started recording her music production on TikTok. Her combination of pop songwriting and dance instrumentals, performed from her bedroom with a basic microphone and Midi-controller setup, quickly gained a large following. The comments were filled with requests for covers, collaborations, and official releases.
However, there were some viewers, typically male, who were not convinced and left sexist, patronizing, and mansplaining comments on her posts. Grace recalls receiving comments questioning if someone else created her tracks, to which she responds with a sigh and the reminder that she is the one creating them. These microaggressions are just a few examples of the challenges Grace has faced in her new career, from condescending colleagues during studio sessions to passive aggressive remarks at live shows. The stigma that women cannot produce is still prevalent in the industry.
In addition to being listed in the BBC’s Sound of 2024 poll, the highest honor came in October when the talented creator, vocalist, and composer reached No 1 on the charts with their infectious drum and bass track Strangers. The song remained in the Top 10 for a month afterwards. This pivotal moment in their career still feels surreal, as they reflect on how unlikely it would have been 20 years ago.
For many years, electronic music has unfairly marginalized women. The majority of credit on dance tracks has been given to male producers, while women have frequently been limited to providing vocals without being recognized by name. According to a 2022 study by the Jaguar Foundation, less than 1% of the dance music played on UK radio was created by a solo female artist or an all-female band. Grace is just the second woman to reach the top of the UK chart with a self-written, produced, and performed track, and the only one in the dance music genre since Kate Bush’s popular Running Up That Hill in 2022.
A new wave of female producers is redefining the landscape of dance music. Grace, PinkPantheress, and Becky Hill are all dominating the charts with their catchy, pop-inspired versions of drum’n’bass, garage, and EDM. Jazzy from Ireland climbed to No. 3 and stayed there for 31 weeks with her powerful house track “Giving Me,” which she co-wrote. Hannah Laing from Scotland is also making a name for herself with her self-produced, classic rave tracks that have garnered millions of streams. Pursuing a career in dance music, on their own terms, is now a viable option for these talented women.
Venbee, a singer-songwriter, proudly declares that she has written a song every day since the age of 10. One of her songs, titled “Messy in Heaven,” became a popular hit last year, leading to partnerships with well-known artists Rudimental and Chase & Status. She believes that women are making their mark in the music industry by showcasing their talents through self-filmed videos.
Producer and vocalist Piri grew up writing songs and playing the guitar, but production wasn’t something she felt was possible for a girl. Her reference points for women in dance were a handful of well-known tracks from the 2000s and early 2010s, such as Sweet Female Attitude’s Flowers and Shy FX’s Gold Dust – both of which were, in fact, written and produced by men. It was only after seeing the rise of experimental electronic acts such as Yunè Pinku and Nia Archives that she started to reconsider. “It’s this domino effect of having more women to look up to,” she says.
In 2020, she teamed up with Tommy Villiers, her soon-to-be musical partner, to learn how to use music software. She was motivated by the group of talented women around her. “Watching Tommy produce was incredibly inspiring, but seeing these amazing individuals create hardcore music, not just soft or ‘feminine’ music, made me realize that I can do anything.”
The pair put out a series of self-made, computer-friendly catchy tunes that were influenced by garage, house, and hyperpop, leading to a contract before Piri pursued a solo path. Despite the fact that over 1.3 million individuals currently stream her music on Spotify each month, she continues to face condescension. “I’ve had people presume that Tommy is the one writing and I’m simply singing,” she explains. “I believe many women are overlooked and seen as just a vocalist, with no real creative input from them.”
Piri has encountered discrimination in the form of sexist inquiries about her knowledge of dance music and critiques on her fashion choices. However, she reflects that her overall experience in the music industry has been favorable. “I believe I am fortunate to be part of a duo with Tommy, as having a male partner has likely shielded me from the mistreatment that women face when pursuing music alone. It’s fortunate for me, but it shouldn’t have to be the case.”
As the presence of diverse individuals increases in the entertainment industry, Piri is actively advocating for greater inclusivity behind the scenes. This includes exclusively hiring women, non-binary individuals, and members of the LGBTQ+ community for their crew. Piri also encourages other artists to follow suit. They acknowledge that the industry has traditionally been dominated by men, who often hire their friends for positions, but urges artists to use their power to choose their team wisely.
In addition to increased visibility, the changing demographics in dance music can be attributed to the more accessible resources available for production, such as YouTube and TikTok tutorials, affordable software, and grants like the PRS Foundation Women Make Music fund. Groups like Loud LDN utilize group chats and events to create support networks for emerging women and gender-nonconforming artists. Some notable members include Piri, Venbee, and rising pop-dance stars Issey Cross and Charlotte Plank. Piri shares, “It can be daunting to have to rely on men for assistance. It’s reassuring to know that as a community of marginalized individuals, we can come together and achieve our goals.”
Grace believes that social media platforms, like TikTok, have played a crucial role in breaking down barriers in the dance music industry, particularly with its complex equipment. She expresses her happiness when people message her about buying a beat pad because of her influence. With affordable gear and a strong online presence, bedroom producers now have the opportunity to pave their way to success without relying on industry gatekeepers. As Grace states, the music industry has undergone a complete transformation, evident through her own career. The public now has the power to choose their favorite artists through streaming and social media, resulting in many rising stars. It is an exhilarating time for the industry.
Anz, a producer based in Manchester, believes that the recent shift in mainstream music culture can be traced back to its roots in the underground scene. When she first began releasing music online in 2015, she chose to remain anonymous because she was afraid of not being taken seriously. In order to secure gigs at house parties, she had to rely on her male friends to vouch for her. However, in the past decade, many local underground communities have formed their own support systems for women and marginalized genders through mentorship programs and training initiatives, such as Saffron Music in Bristol and All Hands on Deck in Manchester. Anz herself has often led workshops and taught others, and she believes in lifting others up along with her rather than pulling up the ladder behind her.
In these grassroots environments, many creators and singers – such as Anz, Sherelle, and another successful artist from the UK, Eliza Rose – have been given the opportunity to thrive regardless of their gender. Anz notes that major record labels are finally taking notice of the wave of female producers and women who are making things happen for themselves, although they are doing so after a significant delay. “It’s frustrating to see how long it took for those at the top to catch on, while those in the underground have been working tirelessly to correct injustices,” she explains. “But I suppose they’ll acknowledge it when they’re ready.”
Why is this happening now? Anz offers a more skeptical view, suggesting that they are recognizing the potential for profit. Piri supports this idea, noting that some people are doubtful of her success, claiming that she only achieved it because she is a girl. However, it’s important not to exaggerate the progress that has been made. In the previous year, DJ Mag’s Top 100 DJs poll only included 14 women, with just three of them ranking in the top 30. Gender discrepancies in songwriting credits also continue. Venbee adds that even now, women often have to assert themselves more in order to receive fair compensation in writing splits and negotiations.
Anz explains that this issue stems from a long history of unequal treatment. Throughout history, many individuals have not received the proper recognition, payment, or respect they deserve, and this is especially prevalent in the dance music industry. Countless people have been overlooked and marginalized, but Anz emphasizes that despite this, they have always been present and it is encouraging to finally be acknowledged.
Hopefully, there will be permanent change in the mainstream and at major labels, and the current moment isn’t just a marketable craze, as Anz fears. But she is still optimistic that, whatever happens, the generation of women will get heard because of the quality of their work. “Kate Bush is a great example of someone who did the damn thing and is being recontextualised and re-appreciated so many years later,” she says. “That’s a nice bit of hope to hold on to: at some point, someone will appreciate it. And even if you never see it in your lifetime, it was worth doing.”
Source: theguardian.com
