Depending on which news article caught her eye, a seriously talented young woman may have made a completely different decision last week about whether to pursue a career in the music industry.
Meanwhile, she may have spotted a headline announcing the female lineup at the prestigious music business jamboree, the Grammy Awards, in Los Angeles on Sunday night. Because this year’s awards ceremony will feature Janelle Monae, SZA, Victoria Monét and Phoebe Bridgers. This is a fitting year for women topping the charts and shining on the concert stage. And that’s set to continue, with Adele announcing dates for a pop-up gig in Germany to be released this week.
But reports of new evidence of women’s struggles, which are still taken seriously within the industry, painted a rather contrasting picture. So while the Grammys are worthy of praise, a quick look at the remaining nominees clearly shows that there are no women nominated for (non-classical) producer of the year. The issue was detailed in a scathing Westminster report into misogyny in the music industry published last week by the Women and Equalities Commission. A cross-party group of parliamentarians says the industry remains a “boy’s club” where abuse and harassment are common. The report concludes that this is an “endemic” problem and that only an urgent action plan can combat it.
Of course, the industry’s track record is distasteful, and stories of abuse and manipulation are rampant before and after Tina Turner finally escapes from Ike. Even if a domineering husband or an unscrupulous male manager doesn’t have the decision-making power, a male producer or record company executive usually does.
“I don’t think there’s ever been a time when the incredible marketability of talented women wasn’t recognized,” said Mike Smith, a former music executive who has worked at the top of major labels and publishers since the 1990s. “I just hope they can have a little more control over their own destiny instead of being puppets of male corporations.”
Smith acknowledges that this statistic is cause for optimism, saying, “There’s never been a better time to be women in the music industry, but we’re starting from an incredibly low bar.”
Joe Twist, chief executive of industry body BPI, and its chair Yolanda Brown are somewhat optimistic about the “unacceptable” misogyny described in the MPs’ report. and stated the following in a joint statement: Women are increasingly represented in management positions at record companies, and more women are finding success as artists and within their teams. ”
So the Grammy Awards will get the attention it deserves amid new statistics detailing last year’s music trends on both sides of the Atlantic. BPI revealed that she was the first woman in the UK to spend 31 weeks at the top of the singles chart. Additionally, seven of her top 10 best-selling singles of the year were record-breakers, representing more than half of the top 20 overall. What’s perhaps even more surprising is that almost half (48.5%) of all songs were hits. This year’s top 10 are selected from women who work as solo artists or in collaboration. These numbers show that women have had the highest annual share of hit songs since the beginning of this century.
The winning heroine was led by Miley Cyrus, whose single “Flowers” remained at No. 1 for 10 weeks. But next to her, who also took the top spot in 2023, are Dua Lipa, Ellie Goulding, Kenya Grace, Rae, Billie Eilish, Doja Cat, Olivia Rodrigo and Taylor Swift. there was. And by collaborating with Rae, SZA, The Pink Panthers, and Cameroonian-American singer Libianca, Cyrus, Swift, and Golding were jointly responsible for seven of the year’s most popular songs in the UK. , carved out more music business history. Official Singles Chart for over 70 years.
But the truth seems to be that while an elite group of female artists have achieved greater status and confidence in the industry, the story is not repeated at the bottom or the top of the industry. Although female recording studio technicians and session musicians continue to give harrowing accounts of the obstacles and indignities they faced in the workplace, the most influential labels and music publishing companies are most often catered to by men.
A parliamentary committee report that analyzed evidence gathered in a parliamentary inquiry launched last summer found that an oppressive emphasis on the appearance of female artists makes their lives particularly difficult.
Limited opportunities for advancement in the industry and persistently low pay levels also act as obstacles, while racial discrimination prevents many Black women from taking on influential roles in the music industry. The survey results suggested that
Most concerning were testimonies about a persistent “culture of silence” that meant women were expected to sit next to known abusers at industry events. The only option is a potentially career-ending showdown. “Much of the evidence we received had to be kept confidential, including television programs and comments from celebrities,” the report said. “This is very unfortunate, but it shows how much NDAs are being used.” [non-disclosure agreements]”
Golding is one of several high-profile performers who uses their safe position to speak out. She described the uncomfortable environment that female artists can encounter, saying she feels “mild discomfort” whenever she enters the studio and is alone with “one or two men.” She said she remembered.
“Given that at least half of music consumers are women, there are still fewer women in really powerful positions at record companies,” Smith said. If you were a 17 year old girl, would you really want to be there with no status and all the banter between men? It’s a good thing that music schools are training women for these positions, because it would be difficult for young women to put up with the stupidity of men. I can see why many of them say, “I’m quitting now.” ”
But Smith, who has worked with artists such as PJ Harvey, Elastica, Beth Orton and Iggy Azalea, sees cause for hope. “That said, I’m glad there’s a little more regulation for female performers. They’re really breaking through and becoming main players when it comes to dance, DJs, and producers.”
And the numbers don’t lie. The charts rose significantly. Only two female musicians have had a top 10 hit in 2022, with Kate Bush recreating the success of her 1985 single ‘Running Up That Hill’ on the back of her TV show. stranger thingspop singer Cat Burns is making an impact with Go.
This is a similarly reassuring story in America. A study by the Annenberg Inclusion Initiative at the University of Southern California found that the percentage of women involved in blockbuster films in the U.S. rose to 35% last year. The number of female artists reached its highest level since 2012.
BPI’s Twist said: “2023 has been a banner year for women in the Official Charts, as efforts continue towards full female representation across the music industry.” “More diverse recording artists than ever are achieving great success with the support of labels. This should be celebrated, but without complacency, our work in the music industry is to ensure that this becomes the norm.” We will continue to work on it.”
The unlikely poster child for the industry will most certainly be the diminutive figure of the truly stalwart Kylie Minogue. Last fall, she became the first woman to top the album chart for 50 consecutive years. On her 15th studio album, disco, reached No. 1, allowing her to look back on her meteoric rise to the top of the charts that began with her 1988 debut album. kylie.
