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A significant report was released today regarding the music industry in Britain. After reviewing the results of the Misogyny in Music study conducted by the women and equalities committee, I was both touched and unsurprised. The 74-page report serves as a reflection, exposing the structural obstacles and prejudices that women in the music industry face on a daily basis. It paints a troubling picture of women being marginalized, mistreated, and silenced due to a lack of understanding about intersecting forms of discrimination.
As a Black female musician, I am personally familiar with these challenges. The report’s findings reveal that women, especially Black women, are severely underrepresented in important positions, continue to face gender discrimination and sexual abuse, and experience negative effects on their mental health due to misogyny. This resonates with my own experiences and the experiences of many others. It is disheartening to see, but also validating, that our struggles are not just in our heads, but are part of a larger systemic issue.
The entrenched practices of gatekeeping in the music industry are extremely concerning. Despite being perceived as progressive, the industry is actually heavily influenced by a culture that favors an exclusive “boys’ club,” as stated by respondents in a recent report. This mentality is evident in the preference for certain groups, seen in festival lineups, artist rosters, recording studios, and the overall workforce of the industry. It also promotes sexualization over genuine artistic expression and authenticity. These practices effectively block diverse talents and voices from breaking into the industry and gaining recognition. It is crucial that we work together to eliminate the barriers that have long hindered the advancement of women in our field.
The report highlights the importance of addressing the problem of non-disclosure agreements (NDAs). The WEC suggests that the government should prohibit the use of NDAs and similar confidentiality agreements in situations involving sexual abuse, harassment, bullying, or discrimination. This would greatly contribute to upholding the credibility of our industry and promoting fairness and openness.
The report also highlights the significance of intersectionality, where the challenges faced by the music industry are not limited to gender or race alone. Instead, they are influenced by how these identities intertwine, resulting in distinct forms of bias and exclusion.
New evidence has emerged in the form of a report published by Black Lives in Music in 2021, entitled “Being Black in the UK Music Industry.” The findings reveal significant pay discrepancies based on both gender and ethnicity. Specifically, Black women are paid 19% less than Black men, 25% less than white women, and a staggering 52% less than white men. These pay gaps serve as clear indications of the systemic inequalities present in the industry. The WEC report proposes one potential solution to address intersectionality by implementing section 14 of the Equality Act. This section, which prohibits discrimination based on a combination of two characteristics, has yet to be enforced.
The WEC suggests that companies with over 100 workers should disclose information about their staff’s diversity and any pay disparities based on gender and ethnicity. This is a positive step towards promoting fairness in pay and eliminating discrimination. However, Black Lives in Music believes that the requirement should apply to companies with 50 or more employees to guarantee equal opportunities for everyone.
Collaboration between the music industry and the Creative Industries Independent Standards Authority (CIISA) is necessary in order to effectively address issues of bullying, harassment, and discrimination. Simply acknowledging these problems is insufficient; we must actively work towards implementing and enforcing solutions. CIISA plays a crucial role in this process.
The efforts of Black Lives in Music and the WEC report are driving forces for transformation. We are not simply stating issues, but are developing plans for a more equitable and diverse music industry. The WEC has declared that the music industry is expected to take action based on the suggestions in this report. We require a commitment to change from all areas of the industry – from record labels to individual artists, from orchestras to music festivals to grassroots movements. Only by working together can we ensure that the music industry becomes a welcoming environment for everyone, regardless of their background.
I am grateful that the WEC report has acknowledged the experiences of those who have been discriminated, bullied, or harassed. The frequent calls we receive at Black Lives in Music serve as evidence of these ongoing problems. I want to express my gratitude to the courageous individuals who have shared their stories with us, which have served as a foundation for creating meaningful change. Their bravery in speaking out is a strong reminder of the strength and perseverance needed to create a more equitable and secure music industry.
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Charisse Beaumont is chief executive of Black Lives in Music
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Source: theguardian.com
