FEATURE:
Front Row Seats
IN THIS PHOTO: Lana Del Rey
The Complex Debate Regarding Women at Festivals
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EVEN has though it might seem easy…
IN THIS PHOTO: Texas’ Sharleen Spiteri at the Pyramid stage on Friday (23rd June) at Glastonbury, where she defended festival co-organiser Emily Eavis against criticisms of favouring male-dominated bands/PHOTO CREDIT: Kate Green/Getty Images
to accuse some of the major festivals of being sexist regarding their uneven bills, the issue is quite a complex one. I think there is a degree of not doing enough to secure female artists for festivals, but I guess things are not as simple as all that. Glastonbury has just happened. Many noted how some of the best sets from Worthy Farm were by women. In fact, CLASH argued that the festival was made wonderful and almost defined by female artists:
“Alas, it wasn’t to be. With faltering sound, a wayward set list, Axl’s vocal idiosyncrasies, and lots – and lots – of guitar solos, this is a headline set which never quite landed. Even a later guest spot from rock’s foremost gentleman Dave Grohl couldn’t save them – Guns N Roses had about as much punch-through as a water pistol against a tank.
In truth, female artists have held the festival together. From Fever Ray’s remarkable late night journey to Sudan Archives’ storming West Holts set, Glastonbury has assembled a slew of phenomenal female voices. Last night – June 24th – underlined this emphatically. It began with a magical performance from Maggie Rogers, the American songwriter bringing a dose of ecstatic joy to the Other Stage. A huge fan of the festival – she was spotted dancing side-stage during Carly Rae Jepsen’s set – her performance climaxed with a thrilling overhead display from the Red Arrows. Heavenly.
Lizzo’s secondary headline status seemed to fire up the much-loved artist, who responded with a phenomenal performance on the Pyramid Stage. Honed across an exhausting international tour – including a fully sold out UK run – she’s a simply lethal live artist right now. People fully believe in her self-love mantras, and with the sun beating down Lizzo is the perfect choice for Worthy Farm. There’s no solid metric to test this, but purely using our eyes: Lizzo seemed to get a bigger crowd than Guns N Roses. Yep, we’re calling it.
And then, of course, there’s Lana Del Rey. Arriving onstage stylishly late – a mere 30 minutes – she breezed into a magical set that blended old with new. Opening with ‘A&W’ the first chapter of the set leaned into her recent album ‘Did You Know That There’s a Tunnel Under Ocean Blvd’ before venturing into broader currents within her catalogue. A majestic ‘Ultraviolence’ seemed to indicate where the set was going next, a carefully curated journey into Lana’s majesty accompanied by a wonderful stage show, the dancers swirling around the singer’s magnetic persona.
But then the mic went out. Having started late, Lana Del Rey fell foul of the curfew. Dropping to her knees, she begged figures at the side of the stage to let her continue, but to no avail. Rules are made to be obeyed, we suppose, but there is certainly a feeling on the ground that Lana had been hard done by. Perhaps that’s apt microcosm for women as a whole during festival season – flourishing, in spite of the obstacles”.
Whilst plenty of male artists – from Lil Mas X, Foo Fighters and Elton John – delivered exceptional sets, the fact that some of the biggest crowds of the event were for female artists shows that there is a demand. It might be the case, as Nova Twins told Woman’s Hour, that we do not nurture female and non-binary bands the same way as male ones. That is true. I think that festivals headliners often have to be seen as bands. Normally Indie or Rock bands. Men with guitars. It is important, I think, to have one band as headliner. There are plenty of bands with women in that could have headlined Glastonbury. I am taking it wider than that, because organiser Emily Eavis did include many terrific women on the bill – and she ensured the festival was one of the best ever! I think there is that thing of under-promoting and nurturing women and bands with women in. Whether that is because there is a legacy of prioritising male bands, or labels are not signing bands with women in as much, I am not sure. New and left-field musicians are not supported and funded. Looking at many of the headline sets across the summer, and there are few bands with women in them. It is not only about having that central figure. Promoting and booking bands with women in them is essential. Major festivals liker Glastonbury have shown that there are plenty of potential female headliners. A lot of acts lower down the bill who are stronger and more engaging than their male peers!
IN THIS PHOTO: Anna Prior
Before moving on, Anna Prior talked to me about gender inequality at festivals, and why it is important to celebrate all women in bands - and not just ‘female-fronted’ bands. As drummer and backing singer with Metronomy, and a successful solo artist, her perspective was incredibly valuable and interesting. She has said how we need to also get away from this narrative of mentioning ‘female-fronted’ bands and celebrate any band with women in them. I was keen to find out more; what advice she had for women taking their first steps towards becoming a musician:
There has been a lot of discussion about the lack of female headliners booked for Glastonbury and other festivals. Do you think this is a problem with the ‘pipeline’, or is it something is it a reluctance to almost ‘take a risk’ on female artists?
If we're speaking only in terms of headliners, then yes, I think festivals don't want to take risks. However, Glasto (Glastonbury) sells out before the line-up is announced, so why not take risks?
As you have said on Twitter, it is important to discuss women performing in bands and on the stage, whether they are the lead or not. Whereas the term ‘female-fronted’ is a term many women feel uncomfortable about, should we instead put focus on women in bands generally?
The term 'female-fronted' perpetuates the notion that women are just a thing to be looked at. We should be focusing on female musicians in a much wider context. Doing research, finding out which 'male-fronted' bands actually have women musicians in them, and not excluding these bands for headline slots because the women in the band isn't the singer.
What has your experience been like performing solo or with Metronomy? Have you experienced personal challenges and obstacles being a woman in a band? It is important, in addition to discussing the band and their strengths, to also highlight an inspiring woman who is no doubt influencing a lot of other women.
I've been lucky enough to be doing this job for 15 years, and I have seen the industry change a lot in that time. The main factor is that there seems to be more women collaborators; in the performance side of things or and the business side of things. We tend to help each other out more, whereas 15-20 years ago, we were always pitted against each other - by the media mainly.
“Give women the jobs, give them the exposure, give them the opportunities”.
It is evident that you have influenced a lot of women coming through at the moment. How
important is it that to you? Together with Sarah Jones (who played drums and performed backing vocals on Harry Styles’ current tour), it must be encouraging that, slowly, more attention is being paid to women in bands – and not just whether they are ‘female-fronted’.
It's one of the most important things for me. We need the exposure, we need the jobs to be given to women musicians. I was barely aware of any female drummers when I started - now, any young women wanting to learn has so many established artists to look up to.
It is clear that watching Glastonbury that women are dominating music and there are so many
headline-worthy artists. What do festivals and the industry need to do to highlight their incredible music and ensure that they supported?
Give women the jobs, give them the exposure, give them the opportunities. Actively seek female musicians, do research, and find out which male solo artists have women in the their band.
Do you have any words of advice or encouragement for female artists looking to follow in your footsteps when it comes to picking up drumsticks?
Start a band! It's the best way to learn drums, to become more creative, and learning how to play with other people is helpful in building character in your playing.
I have seen posts saying that festivals are sexist and they are not trying hard enough. There are others that look at the pipeline and observe that there might be fewer options when it comes to finding female artists that can fill bigger festivals slots (especially as headliners). I think things will radically change next year. It is obvious that festivals are stronger when female (and non-binary) artists are given bigger platforms. There are more than enough choices when it comes to women who can headline. Even though it is not a case that festivals are purely sexist and ignoring women, I think more risks need to be taken. If a solo artist or band with women in them does not seem like a traditional or obvious headline act, you don’t know until you book them! It is clear the old guard and go-to bands are no longer fresh or required. It seems very tired! At a time when there are so many fresh and wonderful women who can command a big stage and deliver a captivating headline set, we are relying on older male acts or the white boys with guitars route. The debate is complex. Things will not be completely fixed by next year. There will be development, mind. In spite of there being no female headliners at Glastonbury, there were many incredible women – as solo artists/band or bands with women in there – that got incredible crowds and reviews. That shows that it is not the punters who do not want to see women play. Maybe it is a mindset or a feeling that people will revolt or be disapproving if boys in bands and male artists are balanced out or even outweighed by female talent of all genres.
IN THIS PHOTO: Carly Rae Jepsen/PHOTO CREDIT: Jasmine Safaeian
There are a lot of festivals coming up. If the bills are depressingly male-heavy, every single one of them is going to be held to task next year. I think, aside from every festival needing to acknowledge and accept that they have no excuses to be male-heavy and deny women headline slots, we need to look deeply at the industry. Less funding and attention to the more innovative and left-field artists. Radio playlists – especially major stations – are still not playing nearly enough women! Bigger labels are not signing enough women and nurturing them the same way as they do men. Those in power (men) still have this feeling that men rule music and that is what people want to see and hear. It is patently not true! If things need to change across all festivals, organisers need each section and layer of the industry to do more to ensure that women are given opportunities and equality. As it stands now, there is a massive pool of women that are available and ready to dominate festivals next year. Many of the best and most popular sets from festivals this year have been from women. I also find that, broadly, female artists have this incredible rapport with their audiences. I am not saying men do not, but there seems like there’s greater wit, warmth and a deeper connection. Another reason why this current inequality is maddening! Things cannot completely change instantly, though there are ways of making big steps right away. Booking more bands with women in them (not just ‘female-fronted’ or ‘all-female’) is a step forward. Young women and girls seeing women in bands, whether they are on drums or guitar, is a very positive and important thing. Simply committing to do things differently and stop leaning on the tired and rather uninspired options. I think 2024 will bring about improvement and progress! When it comes to inequality and a lack of proper recognition and opportunity for women at festivals, let’s hope that this is…
THE last year we see that!