Polly Shute’s Post

Gender inequality in the music industry is particularly prevalent among women and gender minorities in genres like rock, rap, and wild electronic music. Women make up a small percentage of artists, producers, and musicians. A 2020 study found that between 2012 and 2019, only 21.6% of artists on the Billboard Hot 100 were women. This gap extends to concert lineups and music festivals, where male acts dominate. Addressing this gap is critical to creating a more diverse and inclusive music industry.

I personally have felt that being a female has hindered opportunities for growth, so I think its important to drive awareness. Though awareness isn't enough without action. And sometimes I think people are too scared of losing their industry jobs to speak up; putting ethics and morals aside to be in the music industry because they worked so long and hard to get there or know how competitive it is to risk it all. It's sad when something is that "powerful" to make one not do the right thing. I know the article is focused on UK, but we experience it in the U.S. as well. I do think the issue with this article is it starts out with half the women, but its only surveying 6K and it seems like the 6K are all in UK. So if we want people to take it seriously, we need be more representative and expansive in our surveying. How many women are in the music industry as a whole, then look at the 6K, then look at the amount who are women, then look at the amount who say they are discriminated against. We got to come with some trustworthy data if we are supporting a cause here.

This is just outrageous. Participating in this report was so empowering, and the final recommendations of the WEC made me hope for a safer, fair environment for our female colleagues in the UK. Wishing the WEC is able to make the Government rethink its stance. We deserve nothing less than that. ***** UK Government ‘falling short’ over action to help protect women in the music industry from harassment and discrimination, Women and Equalities Committee warns The UK Government has rejected recommendations to help protect women in the music industry from harassment and discrimination despite unequivocal backing from the creative industries watchdog CIISA and a myriad of female voices speaking out across the sector. In its response to WEC’s landmark January report on ‘Misogyny in Music’, the Government said it is “clear that everyone should be able to work in the music industry without being subject to misogyny”. However, it stopped short of accepting the WEC’s recommendations to transform industry protections, despite WEC’s warning women in music face “endemic” discrimination. It also recommended the Government should legislate to protect workers from sexual harassment by third parties, a proposal the Government initially supported and then rejected last year. On non-disclosure agreements (NDAs), the report cited distressing testimonies of victims “threatened into silence”, with WEC urging to prohibit NDAs in cases involving sexual abuse, harassment, misconduct and bullying. The Government plans to bring in such measures in higher education but did not support the recommendation to do so for music despite the compelling evidence presented. Chair of the WEC, Rt Hon Caroline Nokes MP said: “The Committee’s report laid bare a “boys’ club” where sexual harassment and abuse is common and where ‘endemic’ misogyny has persisted for far too long.   “Following its shocking findings, women across the music industry have spoken out in the clearest possible terms about the need for transformative change. Improving protections and reporting mechanisms through necessary legislative and structural reforms are essential steps to achieving that.   “Ministers are letting women down with their feet dragging over NDAs. We have had platitudes and reassurance, but still no action despite evidence that the use of NDAs is rife, in far too many sectors, and they are being used to protect perpetrators and silence victims. “WEC is calling on the Government to re-think its stance, equip CIISA with the powers required to drive the changes needed or risk falling short over the action needed to protect women in the music industry from harassment and discrimination.” WEC will be holding a follow-up evidence session relating to its report on April 24th. https://lnkd.in/djCCGUCj

The 25 Best Pride Songs of 2024 (So Far): Staff Picks https://ift.tt/SMigbl4 At a time of year where calls for increased representation reach a fever pitch, the LGBTQ+ community is especially in need of greater depiction in the music business. As a recent survey conducted by Queer Capita, The Orchard and Billboard found, nearly half of surveyed LGBTQ+ workers said they found the music industry’s current levels of representation to be lacking, while a mere 8% felt their respective companies provided adequate resources for their queer-identifying employees. Simply put, queer music professionals are ready to see real change happen for their community. Related Love Letters to the LGBTQ Community: Read the Notes From Doechii, UMI, Allison Ponthier… 06/01/2024 It’s a sentiment shared by the queer community at large today — while state legislatures around the U.S. have already introduced over 500 anti-LGBTQ bills, reporting shows that public reception of such legislation has shifted. The Human Rights Campaign released a polling memo in May, showing that according to a number of national polls, a majority of Americans agree that legislation against the LGBTQ+ community has gone too far. Yet in an industry where queer professionals feel they’re not being adequately platformed and a time where LGBTQ+ people are actively under attack, it sure feels like 2024 has been a banner year for queerness in music. Across genres and styles, LGBTQ+ artists have provided fans with some of the most-loved music of the last six months. Some queer artists have even managed to find massive success on the charts, a feat considered practically impossible in musical eras past. If the first few years of the 2020s marked a queer awakening in popular music, then 2024 may well serve as the start of an official queer renaissance. With so many excellent entries from LGBTQ+ musicians to choose from in 2024, which ones stand out amongst the rest? Below, Billboard staffers offer our picks of the 25 best songs from LGBTQ+ artists released in 2024. via Billboard https://ift.tt/3t6jFcM June 26, 2024 at 01:00PM

A groundbreaking study by Concerts SA, in collaboration with SAMRO, IKS Cultural Consulting, the Norwegian Ministry of Foreign Affairs, and the Royal Norwegian Embassy, has unveiled the harsh realities faced by women in live music. Conducted in late 2023, this research surveyed 357 industry professionals, revealing profound gender inequalities 🎶🚨 . Key findings: - 56% of women earn less than R5,000 per month. - 63% face inappropriate remarks and mansplaining regularly. This vital research underscores the urgent need for systemic change to ensure fair pay, safe working conditions, and genuine representation for women in the industry. Despite the financial and psychological costs, an impressive 90% of women in the study feel confident in their place within the live music sector. It's time to address these disparities and support the incredible women who drive our industry forward. Read more about the study and join the conversation on how we can foster a more equitable and inclusive environment for all. #WomenInMusic #LiveMusic #GenderEquality #IndustryChange #SupportWomen https://lnkd.in/dCRJ7vp8

Extract-Half of women in music experience discrimination, report finds Misogyny, sexual discrimination and harassment are still everyday problems for female musicians in the UK, a damning new report has found. It says that one third of women in the music industry have been sexually harassed at work, with many reporting it as a barrier to their career. Women are also eight times more likely to face discrimination than men. The findings come from the first ever UK Musicians' Census, conducted by the Musicians' Union and Help Musicians. It surveyed more than 6,000 music industry professionals, of whom 2,526 identified as women. The report said women are paid less than men, and often experience shorter careers, despite being trained and educated to a higher level. More than a quarter of female musicians (27%) said they did not earn enough from music to sustain a career, compared to 20% of men. On average, women earn 10% less than their male counterparts, with an average annual income of £19,850 compared to £21,750 for men… "It's vital that the industry makes genuine commitments and takes decisive actions" to "prevent" the findings being repeated, said Nadia Khan, founder of the non-profit music development organisation Women in CTRL. "True progress can only be achieved when we address these systemic issues head-on and create a more equitable landscape for women in music." The new findings echo a report made by MPs on the Women and Equalities Committee in January. They described the music industry as a "boys' club" where sexual harassment and abuse are "endemic", and called for legislation to tackle the problem. The report, by a cross-party group of MPs, followed an inquiry into misogyny in the music industry, which began in June 2022. It heard evidence from people including the former BBC Radio 1 DJ Annie Macmanus, known as Annie Mac, who said there was a "tidal wave" of revelations about sexual assault in the music industry waiting to be told… Jobs are often stereotyped by gender, too, the report said. Only 12% of studio engineers, 8% of rappers, and 24% of DJs are women. By contrast, women account for 59% of the roles in classical music. Naomi Pohl, general secretary of the Musicians' Union, said stories like these illustrated how women were still being "held back" in the music industry. "We have long advocated for better pay gap reporting, and hope the census findings will encourage the industry to take action, be more transparent and make change." https://lnkd.in/e9iv9MB6

Yesterday Out & Wild Festival got rejected for a joint Arts Council Bid. Next week Ill be waiting for the rejections or lack of reply when I reach out to brands to support the biggest festival in the UK for queer women and those who are non-binary. Lack of funding and support for women in arts and music is shocking. This year The Department of Culture, Media and Sport refused to take any of the concrete actions recommended by a Misogyny in Music report. This was despite the report clearly showing discrimination and harrasment alongside documented evidence. 1️⃣ 51% of women reporting experiencing gender discrimination and 2️⃣ 33% reporting being sexually harassed while working as a musician. Almost two thirds of respondents said that this abuse and harassment is a career barrier. This goes alongside the shocking findings that nearly half of female festival goers (43%) under 40 say they have faced unwanted sexual behaviour at a music festival, We need the abuse and misogyny to stop. And we needed funding for support and safe spaces. #womeninmusic

New Post: Latin Artists Fuel Dramatic Growth of Spain’s Live Scene - https://lnkd.in/g8ZpZccT - Thirty-three shows by Latin artists — including Christian Nodal, Camilo, Emilia, Nicki Nicole and Eladio Carrión — are set to take place at the WiZink Center arena in Madrid this year, out of a total of 97 planned concerts. That’s triple the number of shows by Latin artists who performed at the venue in 2019. Nearby, at Santiago Bernabéu Stadium, which will soon reopen after a three-plus-year renovation, Mexican star Luis Miguel will be the first artist to play two back-to-back shows at the venue when he headlines in July. The numbers provide a glimpse of Spain’s shifting musical tastes and exploding touring market. According to the country’s Association of Musical Promoters, 2022 ticket revenue reached a record gross of 459 million euros ($492 million); the 2023 Primavera Sound festival in Barcelona drew 500,000 fans over two weekends, according to the concert promoters association. For touring in Spain, the pandemic also demarcated a distinct before and after, with Spanish-speaking acts coming from Latin America and the United States now touring in Spain more than English-speaking acts. “We could, perhaps, consider Rosalía as a precursor since she introduced and popularized internationally style that had not yet fully taken off in Spain and is now incredibly popular and growing day by day,” WiZink Center director Paz Aparicio says. Related Spain’s Music Market Is Booming As It Welcomes Latin Talent From Around The Globe 03/08/2024 Rosalía’s global appeal helped catalyze the shift, along with listeners who are now more open to music in a variety of styles beyond Spain’s long-dominant traditional pop. And Latin music’s growth in the United States — where the genre’s revenue has surpassed $1 billion with a 24% growth that outpaced the overall market, according to IFPI — has also bolstered demand overseas. “The U.S. is the country with the greatest strength and influence in the development of cultural and commercial phenomena. In fact, Spain and Europe have always looked more toward what has come from there. It has always been our main reference,” explains Alfonso Santiago, CEO of Last Tour, which promotes festivals such as Bilbao BBK Live and BIME Live. “I believe that the high number of Latinos in the U.S. is key, the fact that music in Spanish is occupying more and more space there every day is very important.” Today, Spain’s Latin touring scene is very eclectic, making the country a key market for new Latin artists. “In the past, very little Latin was produced in Spain, and programming more alternative artists was very

New Post: Live Music Experts Weigh In on DOJ’s Live Nation Suit: ‘We Have an Industry to Save’ - https://lnkd.in/gx2hRTvw - Live music experts are anticipating the antitrust lawsuit brought by the U.S. Department of Justice against Live Nation to take years to resolve, given the wide scope of the claims against the concert giant and the various stakeholders in the live music ecosystem.   Related Live Nation Hit With DOJ Antitrust Lawsuit: ‘It’s Time to Break It Up’ 05/23/2024 “It is going to take a couple of years, at least,” Lee Hepner, senior counsel of anti-monopoly group the American Economic Liberties Project, said at the NIVA 2024 conference in New Orleans on Tuesday (June 4). The conference is put on by the National Independent Venue Association, which formed in 2020 to secure federal funding from the government during the pandemic. The upside, for Hepner and other speakers on the panel called Ticket Tyranny: The Unseen Grip of Market Dominance, is the “massive potential in restructuring the industry.” Ant Taylor, founder and CEO of ticketing competitor Lyte, agreed on Tuesday saying, “Given how big the scope is, it is going to be challenging to see it through… What excites me about this moment is the opportunity we have as an ecosystem to look — not just at Live Nation — but to look at the way we do business together and the conditions in which Live Nation has thrived.”  Specifically, Taylor added, “What’s the business model of ticketing and why, for 40 years, has there been so little innovation around it?”  Ticketmaster has been a dominate force in the ticketing business for decades — its 2010 merger with Live Nation only strengthened its position in the U.S. market. The DOJ lawsuit claims that Live Nation-Ticketmaster has “unlawfully maintained monopolies in several concert promotions and primary ticketing markets and engaged in other exclusionary conduct affecting live concert venues, including arenas and amphitheaters.” A major concern for the DOJ and the group of 30 states that jointly filed the suit on May 23 is Live Nation’s “flywheel model,” which the DOJ describes as a “self-reinforcing business model that captures fees and revenue from concert fans and sponsorship, uses that revenue to lock up artists to exclusive promotion deals, and then uses its powerful cache of live content to sign venues into long term exclusive ticketing deals, thereby starting the cycle all over again.”  Unlike the consent decree that Live Nation has been under since the merger, which was designed to prevent the company from abusing its position, Kevin Erickson, director of Was

Celebrating Women’s Month with Groundbreaking Research on Women in Live Music In honor of Women's Month, we proudly present a transformative report by Concerts SA, revealing critical insights into the experiences of women in South Africa’s live music industry. This comprehensive study, conducted with support from the Norwegian Ministry of Foreign Affairs, the Royal Norwegian Embassy, and SAMRO, sheds light on the challenges faced by women in this vibrant sector. This research was made possible by the dedicated efforts of our research team leader, Gwen Ansell, the IKS Cultural Consulting team, and Mbali Ndhlovu of the SheSaidSo organisation The key findings highlight that over 60% of women experience gender-related remarks, and 68% feel unsafe commuting late at night. Despite these challenges, 76% of women report strong family support for their careers, and 90% feel a sense of belonging in their roles. The report advocates for legislative recognition of artistic work, gender quotas, and gender-blind auditions to foster equity and safety. This Women’s Month, we emphasize the importance of addressing these disparities and championing gender balance in music. Read the full report here: https://lnkd.in/dCRJ7vp8