Depending on which news article caught her attention, a talented young woman may have made a different choice last week regarding pursuing a career in the music industry.
One possibility is that she may have noticed news articles celebrating the female-dominated lineup at the Grammys, a highly esteemed music event held on Sunday evening in Los Angeles. This year, the ceremony will feature numerous female nominees, such as Janelle Monáe, SZA, Victoria Monét, and Phoebe Bridgers. This is a fitting end to a year where women have dominated the music charts and dazzled audiences during live performances. And the trend is expected to continue, as Adele has announced upcoming concert dates in Germany that will go on sale this week.
However, recent evidence highlights the ongoing struggle for women to be recognized within the industry. Despite the commendable nature of the Grammys, a closer look at the other nominees reveals that no female producer has been nominated for (non-classical) producer of the year. This issue was also addressed in a recent report released by the women and equalities committee in Westminster, which uncovered widespread misogyny and mistreatment of women in the music industry. The report found that the industry still operates as a “boys’ club” where abuse and harassment are prevalent. The report emphasizes the urgent need for a comprehensive plan to address this “endemic” issue.
The industry’s reputation is discouraging, as there are numerous stories of mistreatment and exploitation before and after Tina Turner’s escape from Ike. If controlling husbands and unethical male managers weren’t in charge, it was often male producers and record executives.
Former music executive Mike Smith, who has been working in the music industry since the 1990s, believes that the marketability of talented women has always been acknowledged. He hopes that now, women in the industry are gaining more control over their careers instead of being controlled by men.
Smith acknowledges that the statistics offer reason for hope, stating that there has never been a more opportune moment for women in the music business. However, she also recognizes that the starting point is incredibly subpar.
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The BPI’s chief executive, Jo Twist, and chair, YolanDa Brown, addressed the “unacceptable” misogyny discussed in the MPs’ report with a glimmer of hope. They released a joint statement stating that record companies have made efforts to increase the number of women in executive roles and there has been a rise in successful female artists and team members.
The upcoming Grammys will serve as a positive highlight amidst newly released statistics showcasing music trends from the previous year in both the United States and Britain. The BPI disclosed that, for the first time, female artists dominated the singles chart in Britain for 31 weeks. Additionally, female artists accounted for a record-breaking seven out of the top 10 best-selling singles of the year, making up over half of the top 20 overall. What’s even more notable is that almost half (48.5%) of the songs in the Top 10 this year were created by women, either as solo artists or in collaborations. These figures represent the largest proportion of hits by female artists in a single year in the 21st century.
Miley Cyrus led the group of successful female artists with her single “Flowers” spending 10 weeks at the top spot. Joining her at the top in 2023 were Dua Lipa, Ellie Goulding, Kenya Grace, Raye, Billie Eilish, Doja Cat, Olivia Rodrigo, and Taylor Swift. When combined with Raye, SZA, PinkPantheress, and Cameroonian-American singer Libianca, Cyrus, Swift, and Goulding have made history in the music industry by collectively contributing to seven of the UK’s top 10 tracks of the year – the largest share in over 70 years of the Official Singles Chart.
However, it appears that although a select group of female artists are gaining more recognition and self-assurance in the industry, this is not reflected at the lowest or highest levels of the business. Female recording studio technicians and session musicians still have disturbing experiences of challenges and disrespect in their work, while the most powerful record labels and music publishing companies are predominantly male-dominated.
The report from the parliamentary committee revealed that female artists faced immense challenges due to the focus on their physical appearance. The committee conducted an inquiry last summer and analyzed the evidence gathered.
The study indicated that both limited chances for career advancement and consistently lower wages are obstacles in the industry. Additionally, racial discrimination is preventing many black women from obtaining influential positions in the music business.
The most concerning issue was raised about a persistent “culture of quiet” where women are frequently expected to sit beside known abusers at industry gatherings. The only other option is to potentially risk their career by speaking out. The report stated, “A large portion of the evidence we received had to be kept confidential, including discussions about television programs and well-known individuals. This is unfortunate, but it highlights the widespread use of NDAs [non-disclosure agreements].”
Goulding is known for using her influential status to speak out. She shared her experiences of the uncomfortable situations that female artists may face, such as feeling uneasy when being alone in a studio with male colleagues.
According to Smith, there is still a lack of women in positions of power within record companies, despite women making up at least half of music consumers. In the past, there may have been a path for women to move up the ranks in a record company, but it may not have been an appealing option due to the lack of status and presence of male-dominated conversations. It is positive that music schools are now preparing and educating women for these roles, as it would be challenging for a young woman to tolerate the male-driven ignorance. It is understandable why many women choose to leave the industry.
However, Smith, who has collaborated with talented musicians like PJ Harvey, Elastica, Beth Orton, and Iggy Azalea, remains optimistic. “I’m happy to report that there is now more agency for female performers. In the realm of dance, DJs, and producers, they are truly making their mark as key players.”
The data speaks for itself. There has been a significant increase in chart rankings. In 2022, only two female artists made it into the top 10 of the biggest songs. Kate Bush saw a resurgence in popularity with her 1985 hit “Running Up That Hill,” featured on the TV show Stranger Things, while pop singer Cat Burns made an impression with her song “Go.”
The findings in America are equally uplifting. According to a report from the Annenberg Inclusion Initiative at the University of Southern California, the percentage of women involved in top-performing songs in the US last year rose to 35%. The number of female artists has also reached its peak since 2012.
According to the BPI’s Twist, while efforts are still ongoing to achieve equal representation for women in the music industry, 2023 has seen significant success for female artists on the Official Charts. The collaboration between these artists and their labels has resulted in a more diverse range of music being recognized and celebrated. However, there is still more work to be done to ensure that this becomes the standard in the music industry.
Kylie Minogue, a well-respected figure in the industry, has surprisingly become the symbol of longevity. In the recent season, she achieved a remarkable feat by being the first woman to have a No. 1 album in five consecutive decades. With her 15th album, Disco, reaching the top spot, she can proudly reflect on her chart-topping success that started back in 1988 with her debut album, Kylie.
Source: theguardian.com
