How is the situation for women in music improving in light of the recently released Seat At The Table and Misogyny in Music reports?

The recent Seat At The Table (SatT) and Misogyny in Music (MiM) reports explored the positive and negative aspects of the music industry ecosystem, while also highlighting the persistent challenges faced by women in the field.

Nadia Khan is a trailblazer when it comes to empowering women in music as an activist, talent manager, and businesswoman. The Women in CTRL SatT report, which offers an annual snapshot of boardrooms, executive teams, CEOs, and chairpersons at UK Music and its ten member trade bodies, was founded by her, and she is also its author. Nadia acknowledges in her work “the vital need to support and nurture the upcoming generation of trailblazers.”

Since SatT’s founding in 2020, advancements have been made on a constant basis, and the 2024 edition demonstrates a notable improvement in balancing gender disparities at senior levels. In the 2024 sample, a record 52% of board members identify as women and/or non-binary (W / NB), and the representation of global majority women (GM) is 16%, the highest level ever. There are 27% W/NB chairpersons with 18% GMW and 54% W/NB executive teams with 14% GMW. W/NB for CEOs is 45%, but GMW is 0%.

Jackie Alway OBE, a longtime executive at Universal Music Publishing and the first female chair of the International Confederation of Music Publishers (ICMP), is one of the people highlighted in the SatT report. “It’s easier to wait and see who will step up to make a difference,” she says to M.

The PRS Members’ Council member Jackie says, “Most of the time, the door is open to change, but it can’t happen without someone willing to take up the challenge.” Every leadership position I’ve held has proven to be a positive and encouraging experience for me. The chance to get a female appointment would have been lost if I hadn’t taken it. Take a stand, lend your support to causes you believe in, and effect change.

VV Brown is another prominent SatT executive. She spent about 20 years working in the music business as a songwriter and musician before assuming significant positions on the PRS Members’ Council and the Ivors Academy Board. She urges others to “fearlessly embrace the tumultuous waters of risk and failure,” as she says in a speech to M.

“It takes fortitude and resilience to transcend this domain,” she continues. “Confront the validations of the industry with a resolute sense of who you are.”

“Take a step forward, lend your support to causes you believe in, and effect change.” – Jackie Alway, OBE

The MiM report, which was released in January, is a somber but significant read that illustrates the tip of the iceberg of the bad experiences that women have in the music industry. According to a 2022 study on bullying and harassment in the workplace that was included in this report, a sizable percentage of employees came to the conclusion that sexual harassment in the music industry is so commonplace that women view it as “a normalized aspect of business that they must learn how to negotiate” and “part of work culture.”

It’s interesting to note that males predominate in “gatekeeper roles” such as promoters, programmers, and A&Rs in a number of business domains. According to the MiM report, these are part of a larger “Boys’ Club” that fosters unwelcoming environments, obstacles in the talent pipeline, a dearth of role models, and a continued gender imbalance.

Though there is still much to be done, steps are being taken to bring about positive change by shattering stereotypes and creating new, more representative structures by increasing the visibility and support of women who aspire to or are currently employed in such roles.

VV decided to take on a leadership role in response to the existing lack of representation. “A photo from music industry media shared on socials by a prominent radio DJ — a seemingly supportive figure heralded for inclusivity — paradoxically showcased an absence of Black women within the dialogue on women in music,” the speaker recalls as the moment that spurred her to action.

“This exclusion, which brought to mind past White feminist movements, sparked a deep sense of being disregarded as a Black woman at a turning point in life when self-satisfaction took precedence over outside opinions.”

There is hope for a better, more sustainable future thanks to initiatives like Women in CTRL’s SaaT Board Initiative, which aims to close the skills and confidence gap between women and non-binary music industry executives and important organizations accepting new applicants, and the Music Leaders Network’s women’s professional development program, which provides opportunities for up-and-coming leaders to gain experience and confidence. Meanwhile, the Women Make Music fund and the PRS Foundation’s Keychange initiative keep funding efforts to remove some of the obstacles mentioned in the MiM report, improving chances for women and NB creators.

Driving and then maintaining change requires both regular accountability and concrete actions. With the notable advancements shown in its Gender and Ethnicity Pay Gap Report 2023, PRS for Music leads by example. The range of representation of women and ethnic communities within headcount, senior roles, and new hires has increased as a result of positive action, ongoing commitment, and transparency.

Diversity is essential for high-performing businesses, according to PRS CEO Andrea Czapary Martin, who is also speaking about the company’s transformative journey. Diversity fosters “creativity, innovation, enhanced decision-making and problem-solving.” Another factor that makes an organization’s culture dynamic and resilient is diversity of thought.

Being a well-known female leader, Andrea approaches her work by considering her strengths and displaying vulnerability. She continues, “I have no problem discussing things that aren’t perfect in order to better shape the organizations that I lead.”

Consolidating UK Music’s 10-point plan with The Five Ps has helped its members advance, and the recommendations it has put into practice have strengthened this coalition of companies that speaks for our industry and benefits everyone indirectly. The introduction of procedures to lessen bias, such as training, development plans (which include identifying senior leaders with five-year targets), and redacted CV filtering, has contributed to the evolution of PRS. Additionally, it has included an allyship guide to enable people to advocate for others or themselves.

“I own my choices, my womanhood, and my music masters.” – Vincent Brown

VV continues, “Such a seismic shift promises to usher in a new era of creative freedom, unencumbered by preconceived notions,” calling on the music industry to further shatter genre stereotypes and free artists from cultural labels.

She declares, “I own my womanhood, my choices, and my music masters,” emphasizing the value of choosing kindness. I will strive to extend that conviction to all women.

In addition to highlighting the work done by the Music Publishers Association (MPA) on employee network groups, “where members can come together in a safe space to talk about life with protected characteristics and share experiences, support, and ideas,” Jackie advises executives to seek out people they can assist.

She reports having “the most enjoyable and energizing hours of my week” as a member of the MPA’s AccessAbility network, noting that “members with lots in common can connect and be mutually inspired by stories and advice.”

Jackie acknowledges that much work needs to be done in this area. However, she points out that “every discussion on the subject, every campaign, and every change in the law is another step in the right direction.” “I think we can keep creating momentum for change.”

Jackie acknowledges that much work needs to be done in this area. However, she points out that “every discussion on the subject, every campaign, and every change in the law is another step in the right direction.” “I think we can keep creating momentum for change.”

The industry as a whole has no justification for inaction or inaction in light of these inspirations, tools, and initiatives. Raising awareness and challenging attitudes are the first steps in being proactive. This is starting to happen, but in order to completely close the pay gap, it is time to increase accountability and provide more transparency regarding team structures and pay.

This is consistent with suggestions to establish mutually supportive platforms and spaces, to support and financially support organizations working to shift cultural norms, and to plan for succession in order to develop the next generation of leaders. Allies and role models can support these initiatives by highlighting and applauding others’ accomplishments.

This should inspire more women and members of underrepresented groups to enter the talent pipeline. When these implementations and lessons are fully applied, the music industry will become stronger and more sustainable for the benefit of all.