Loose Theories.

‘Men act and woman appear. Men look at women. Women watch themselves being looked at’– John Berger, Ways of Seeing (1972). This outdated sociology of the relationship between men and women in art has infested our modern industry, creating a huge gap between gender roles in music. 

For decades, the female form has been used as a tool for marketing, featuring on the cover of endless albums, magazines, online publications, festival promos, event posters, article headers and social media campaigns. Moreover, big players in the live music sector still employ women in roles such as female dancers, shot girls and street promoters, especially during festival season abroad. 

Sexualisation has been apart of the music industry for a long time, but we have reached a new era in which we should not be accepting the pressure as a woman into compromising positions, whether it be as a model on an album cover or a DJ who wants to market her music, NOT her body. 

‘We are aware of far too many cases of talented musicians, particularly young or emerging artists, leaving the industry altogether due to sexism, sexual harassment or abuse.’– Naomi Pohl, deputy general secretary at the Musicians’ Union.

Magazines and Promoters are discriminating against women as their target audience by appealing to the male gaze. Not only is a reminder of the sexist equality that plagues the world, it is also a reason women do not want to attend events and festivals. It pressurises the audience to act, dress and even dance in a certain way- for the attention of the male crowd. And the problem is, it works. 

Which, leaves women working higher up in the UK industry in a difficult position. Only 27% of Universal Music Group employees are women, with an average pay gap of 29.1%. Meanwhile, bonuses at Sony Music ‘female executives are paid 50.1% less on average than their male counterparts.’ Ultimately, there is a thin opportunity for creative women to succeed in music, let alone a chance to make changes to the sexist structures in marketing and live event procedures.

Female DJs and producers are not immune to the issue, having to make the decision with very post, outfit and set, between the views and stats that will sure follow showing some nudity, in comparison with a focus on a set up or a beautiful venue which will sure see far less attention. 

As Berger says, ‘Men act and women appear’, which is proven by the gap between artists playing at festivals last year. Only 4% of artists playing We Are FSTVL were women. At Creamfields, there was not much of a jump to a minute 12% of artists being female. And playing events like these are often ruined by sexual harassment in the workplace:

“We are freelance musicians and the incidents occurred when we were performing on tour. I was told this was just ‘lad culture’ by the person investigating my complaint. No wonder such a high proportion of issues go unreported.”

The idea that the love of music can be destroyed by a culture of disrespect and sexism, needs itself to be destroyed. Without women, there would be no scene. Men and women in power need to stop ignoring the obvious inequalities and de-prioritise the outdated sexualisation of music to strive for an industry where women are not afraid to listen, create and perform in the way they want to. 

Sexualisaing artists and events commercialises the music, blatantly shouting for the attention of male listeners. A good track or festival wont need a facade if the quality is truly there. 

Stop using the female form in your marketing. Do a graphics course. Let women play your events. Promote her to editor. For your next promo video, film the DJ not the crowd. 

Sacrifice mass marketing for the audience who actually appreciate the music you are playing and want to join you.