Author: Dr Christina Ballico Research Assistant: Jessica Willoughby - West Australian Music
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Author: Dr Christina Ballico Research Assistant: Jessica Willoughby
WAM Fair Play WA Report 2020 WAM Fair Play WA Report 2020
Contents
Acknowledgements............................................................................................................... 5
Executive Summary............................................................................................................... 6
Introduction....................................................................................................... 8
Introduction......................................................................................................................... 9
Methodology and Methods............................................................................................... 10
Research Limitations.......................................................................................................... 11
The Forgetting of Women in Popular Music Histories ................................................. 11
Gender Parity, Equality and Sexual Harassment in Music............................................ 13
Thematic Analysis.................................................................................................................. 14
Introduction......................................................................................................................... 15
Participants’ Underlying Career Characteristics: Employer Support,
Career Support Networks, Career Commitment, Career Challenges
and Career Needs .............................................................................................................. 15
Gender Discrimination, Equality and Sexual Harassment ........................................... 18
Conclusion........................................................................................................................... 26
Fair Play WA: Recommendations........................................................................................ 28
Introduction......................................................................................................................... 29
A database of female and broadly non-male artists and industry
practitioners in WA ............................................................................................................ 29
Female focused and engaged mentoring programs .................................................... 30
Female musician and industry practitioner networking events ................................. 30
Purposeful female presence at conferences, workshops and sundowners.............. 30
Female showcasing events and an enacting of gender parity policies
for venues and festivals .................................................................................................... 30
Female music compilations .............................................................................................. 31
Public awareness campaigns around zero tolerance policies at venues................... 31
Events, performance and touring opportunities aimed at supporting
primary caregivers............................................................................................................. 31
Grants and/or subsidies aimed at encouraging greater gender parity
in areas where women are currently underrepresented ............................................. 32
Formation of a WA music industry advisory group to develop and implement
the Fair Play WA report findings and lobby local, state and federal governments
regarding gender equity interests relevant to the industry......................................... 32
Develop an online resource hub to list and connect WA female, trans and
non-binary music makers and industry practitioners with initiatives that
could benefit their careers................................................................................................ 32
References............................................................................................................................... 34
2 Carla Geneve at SOTA 2018, photographer: Castaway Photography 3
WAM Fair Play WA Report 2020 WAM Fair Play WA Report 2020
I would like to thank Jessica Willoughby for her work
on the initial report research, survey and interview
design and implementation. I also acknowledge the
work undertaken by the team at Culture Counts in
distributing the survey and undertaking initial statistical
analysis. Thank you also to Linda Butcher, Claire
Hodgson, Bel Skinner, Aysha Amani, Chris Edmondson,
Ellen Oosterbaan, Georgia Kennedy, Em Burrows, Mike
Harris, Dr Louise Devenish and Natasha Shanks, for their
feedback on initial drafts of this report and Julia Hobson
for editing the final version. Most of all, thank you to
all who gave their time to participate in this research,
without whom this report would not be possible.
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Significantly, Fair Play WA has found that: Recommendations from this research are centred
around increasing and supporting a stronger
Female industry practitioners are ten times female presence across the sector, as well as
more likely to experience gender discrimination inclusive and safe live music experiences: the
than their male counterparts. development and/or promotion of a database
67% of females believed a female mentor would of female and broadly non-male artists and
improve their career development and 65% industry practitioners in WA, female focused
identified that female role models would im- and engaged mentoring programs, female
prove their career development (only 25% of musician and industry practitioner networking
males identified having a male mentor as an events, purposeful female representation at
opportunity to improve career development). industry events, female showcasing events and
Women were more than twice as likely as men an enacting of gender parity policies for venues
to agree that flexible caring hours would help to and festivals, female music compilations, public
further develop their music careers. awareness campaigns around zero tolerance
While 73% of consumers are ‘used to’ the male policies at venues, performance and touring
dominance of the live performance space, there opportunities aimed at supporting primary
is a strong desire (94%) for there to be more caregivers, grants and/or subsidies aimed at
women performing live. encouraging greater gender parity in areas
where women are currently underrepresented,
Female music consumers are almost eight times
formation of a Fair Play WA advisory group and
more likely to experience sexual harassment or
the development of an online resource hub to
violence at live music events than males, and
list and connect WA female, trans and non-
on average, do not feel completely safe at live
Fair Play WA presents the first comprehensive binary music makers and industry practitioners
music events.
examination of the gendered experience of with initiatives that could benefit their careers.
Venues recognised that they needed to be
women working in and engaging with the Western
proactive in having gender parity in their live
Australian contemporary music industry and
performance bookings, noting that this has not
scene from the perspective of musicians, industry
always been the case for their line ups.
practitioners and consumers. It brings together
the voices of musicians, industry representatives Overall the WA music industry is viewed by 67%
and consumers across an in-depth examination of consumers as being gender inclusive and ac-
of incidences of gender discrimination, sexual cording to 78% of consumers is becoming more
harassment and sexual assault. Contextualised inclusive. Despite this positive response, strong
within historical debates around the representation negative opinions about inclusivity exist, which
of women in creative and industry musical demonstrates that work is still required in order
settings at local, national and international for the sector to be truly gender inclusive.
levels, Fair Play WA reports and reflects on the Live music venues were identified as being the
lived experiences of a broad cross section of primary space in which gender discrimination
the WA music community. Building upon the and harassment occurred for both industry
previous work that aims to increase women’s practitioners and consumers. This was despite
prominence in the music industry and provide venues having a zero-tolerance policy for vio-
safe spaces and experiences for musicians and lence and being proactive in ensuring gender
music consumers, Fair Play WA seeks to further parity in their staffing as well as providing a safe
inform and outline a way forward for the sector. environment for attendees and staff.
6 Higher Note 2019, photographer: Monique Ceccato 7
WAM Fair Play WA Report 2020 WAM Fair Play WA Report 2020
Ali Flintoff at Girls Rock! WA 2019, photographer: Marnie Richardson
1. Introduction
Fair Play WA explores women’s experience of local, national and international contexts in order
engaging with and undertaking contemporary to support and increase women’s prominence in
music activity in Western Australia. It brings the music industry and promote inclusive and safe
together the perspectives of musicians, experiences for musicians and consumers alike.
industry practitioners and consumers in an in-
depth examination of incidences of gender This research comes at a time in which there is
discrimination, sexual harassment and sexual an increased interest in women’s contribution
assault. In addition, it provides commentary to music: their histories, their lived experiences
and analysis on the challenges associated with of pursuing careers, the need for gender parity
pursuing careers in music in Western Australia, as in business and creative settings and the
well as barriers for consuming music, particularly acknowledgement of the impact of a historically
in relation to perceptions of venue and nightlife male dominated sector which has resulted in a
safety. In doing so, it provides a way forward for range of power abuses. To this end, Fair Play WA
musicians, industry practitioners, and consumers offers a way forward for the Western Australian
to ensure a safe, supportive sector in which they contemporary music sector to: encourage women
can create, encourage and consume local music in their music careers, support gender parity
activity. It is contextualised within historical across a range of contexts, and importantly ensure
debates around the representation of women in a safe and inclusive experience for musicians,
music – in both creative and industry settings – and industry practitioners and consumers alike.
considers initiatives which have been enacted in
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WAM Fair Play WA Report 2020 WAM Fair Play WA Report 2020
1.2 Methodology and Methods in the West Australian music industry. A likert recorded, with detailed transcripts developed by The researchers recognise and acknowledge
scale was utilised for measuring attitudinal the interviewer. Instead of providing a verbatim that the experiences of those who are sexually,
Fair Play WA brings together findings from three responses to a set of eighteen custom dimension record these transcripts focused on key themes gender and/or racially diverse and those who live
separate industry/artist, venue and consumer statements (CDS) which focused on how and findings from the interviews, with some quotes in regional and remote areas of the state, and/or
surveys as well as interviews with eleven accommodating participants’ employers were noted for use in the analysis included in this report. are differently abled are not discussed in detail.
industry representatives and a questionnaire to a range of commitments, including those We understand that those who may identify with
administered with venue operators. The findings relating directly to their artistic commitments, An additional survey was administered for one or more of these categories can experience
were triangulated and are organised thematically and other commitments such as study, caring/ consumers. This survey was conducted during even greater challenges and/or disadvantage than
to present a well-rounded discussion on the parenting, and provisions for leave (sick, annual WAMFest 2017 in early November of that that which we predominantly discuss herein.
experiences of women in their pursuit of careers and maternity); plus the impact of gender on year and attracted a total of 39 participants.
and in engaging with music as a consumer. The career opportunities and development. Survey participants were asked demographic 1.4 The Forgetting of Women in
surveys, interviews and questionnaires were information, before being requested to provide
designed by a researcher with a background in Qualitative unstructured interviews were then details on their consumer habits – including genre Popular Music Histories
music journalism and a strong understanding undertaken to provide depth and nuance to preferences and frequency of attendance at live Fair Play WA offers a critical evaluation and
of the contemporary music sector in Western the key themes and findings revealed by the shows. Perceptions and attitudes toward gender analysis on women’s experiences of pursuing
Australia, alongside members of the West survey. These interviews were with eleven female parity were then sought, before participants careers in music and engaging as a consumer,
Australian Music (WAM) team. The two surveys members of the Western Australian music industry were asked questions relating to their personal and sits within a body of discourse that examines
were administered by Culture Counts who who were chosen based on their prominence in experiences of sexual harassment and assault the ways women’s contributions to music have
undertook initial statistical analysis of the the sector and with the aim to obtain a cross- when engaging in live music activity. Barriers to historically been overlooked and forgotten with
findings. The interviews were undertaken by the section of experiences and perspectives. Of these engaging with live music were also examined. women’s experiences of pursuing music careers
researcher who designed the interview questions interviewees, six were industry representatives largely missing from archival work (Strong,
and initial structure of the study. The in-depth and five were musicians. Industry representatives Four venue owners were interviewed with a fifth
2011). These considerations demonstrate the
findings, and overall authoring of this report was worked across a range of music industry and response received via the Culture Counts online
importance and significance of Fair Play WA,
undertaken by an experienced contemporary ancillary positions including as an Artist Manager, survey focusing on the ways in which they support
while also illuminating how widespread and
music researcher who has a strong background Festival Director, Music Retailer, Journalist, Label gender parity in their programming decisions and
ingrained is the ‘forgetting’ of women in music.
in academic and industry engaged research Manager, Public Relations Consultant, Radio provide a safe and inclusive environment for their
examining music careers and broadly music sector Announcer, and Sound Engineer. Musicians performers, staff and patrons. Within this, dress In her examination of the ways in which female
development in Western Australia. Additional included those who performed solo and/or in codes, door policy and security procedures were musicians have been largely forgotten in the
feedback and guidance was also provided by bands, creating original music in a range of genres examined, as was the gender parity of venue and enduring history of Seattle’s grunge music scene,
members of the WAM Board, and select music such as Electronic, Folk, Rock, Punk, Jazz, Metal/ booking staff, and the venues’ overall attitudes Strong (2011) puts forward that this forgetting
industry practitioners and gender theorists. Doom, Country, Soul/Rnb and Pop, and included a to supporting and facilitating gender parity has been the result of a range of cultural and
combination of those who lived in Perth, in regional and inclusiveness within their establishment. societal factors which relate to the ways in which
The first of the two surveys was conducted areas of the state as well as practitioners who record keeping takes place (being largely the
with industry practitioners who identified as identified as having indigenous heritage. These 1.3 Research Limitations work of men), as well as women’s lack of control
working across a range of roles in the local music interviews brought together in-depth reflections perpetuated through the use of language and
industry. It was online for six weeks between late While this research contributes to global debates
on the participants’ experiences of developing symbols that maintain power structures. Crucially,
November 2017 - January 2018 and attracted a about the role and experience of women in music
and sustaining their careers in the WA music however, when relating to how this has occurred in
total of 303 responses from practitioners whose and provides guidance for the Western Australian
industry. Interviews included discussions relating popular culture, she puts forth (2011, p. 401) that,
roles cut across creative and business positions music industry to engage, support and encourage
to their formal music related training (if relevant), women in their music careers and to support safe
– including Musician/Songwriter, Live Sound/ the ways in which they initially engaged in music women [are] disappearing [from histories]
or Recording Engineer, Manager, Promoter or spaces of music engagement and consumption,
and music sector work, and broadly the ways in well before their deaths, and in circumstances
Booking Agent, - at a label/publishing company there are limitations to the data included here
which they have traversed, and were committed where, in rock music, their work is as well-
- Radio Broadcaster and Music Journalist. which must be acknowledged. Most notably, there
to continuing their careers. Included within this catalogued and as easily accessible as men’s,
Representative of the multifaceted nature of local is a lack of nuance to the sample group included in
were the challenges and barriers experienced by suggest that being female is in and of itself
music industries and scenes, the survey also the surveys, for example respondents in the Main
the interviewees, including the ways in which they enough to make being forgotten more likely.
attracted responses from people who identified Survey (the survey most frequently referenced in
do/do not maintain a work-life balance (such as Fair Play WA) identify as 50% Female, 48% Male
as educators, students, administrators, and stress and mental health challenges/impacts). The forgetting of women within the popular
consumers. Participants were asked a range of and 2% In Another Way, resulting in the report music cannon can be further attributed to the
Reflective of the focus in the survey, issues relating having a strong binary female/male focus. The data
questions, including demographics and income to gender discrimination and sexual harassment, ways in which female musicians are not taken
levels for the prior financial year. The survey also lacks details on participants’ ethnicity, sexual as seriously as their male counterparts. This
and recommendations to support and facilitate orientation, postcode/locative data and does not
focused on workplace conditions and employment stronger female representation were central includes being sexualised as vocalists (as opposed
as well as the gendered experience of working track whether participants were differently abled. to being viewed as talented instrumentalists),
across all interviews. All interviews were audio
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having their gender be the central focus in media deep misogyny. These tensions are reinforced by 1.5 Gender Parity, Equality and Sexual and/or broader attitudes towards women in the
coverage, and broadly not having their talents the Oz Rock tradition of the masculine ideology public sphere also change. This male dominance is
Harassment in Music
and abilities respected in the same way – or to of ‘mateship’, as well as broader attitudes toward also credited with perpetuating gendered abuses
the same degree – as their male counterparts what Glitsos (2017) calls a “prescribed model of In recent years there has been an increased of power. These power abuses range from the
(Strong, 2011; Glitsos, 2017; 2019). As Strong womanhood” (p. 204). In a post-war context, interest in ensuring an equal platform for women financial and artistic control of female artists (for
ultimately goes on to explain, the forgetting of this “model” saw women encouraged to migrate in music. This has included the questioning example, see Taylor Swift vs Scooter Braun, cf
women in grunge has been further perpetuated to Western Australia for the express purpose of the lack of gender parity across a range of Kaplan, 2019), to instances where women have
by the segmentation between Grunge and Riot of marrying men. It also resulted in their public settings such as festival line-ups, listener voted been sexually harassed, abused and assaulted.
Grrrl movements, which, while both emerging deviancy being heavily regulated in order to ensure radio polls, board representation/executive The trajectory of such experiences ranges from
from the same underlying musical movement, are they remained on the “right” side of the Madonna/ management roles, radio airplay and music the extreme (such as in the case of R Kelly, cf
often positioned as somehow being separate. This whore complex (cf Straw, 2013). These factors awards, as well as examining the impacts of the Savage, 2019), to more insidious cases (such as
separation further perpetuates the forgetting of reinforced women’s perceived role in the home, male dominance with positions of power across the allegations against Ryan Adams, cf Coscarelli
women from the history of grunge, which in turn their expected desire to become mothers (as well the sector. Taken collectively, dialogues from both and Ryzik, 2019), and within Western Australia,
contributes to the broader masculine focused as be particular kinds of mothers), and a perceived academia and industry reveal the following: the allegations against former promoter and
dialogue around contemporary music activity lack of their contributions to society. These radio announcer Dave Cutbush (Pari, 2017) and a
Major record labels are run predominantly by
and associated memories. Acknowledging and histories underlay ongoing attitudes that reinforce quickly reversed requirement for female bar staff
men (Ingham, 2019)
recognising the lack of representation of women a lack of recognition for women’s contribution to dress a particular way (cf Finnigan, 2019). In
in contemporary music histories and dialogues to music and have influenced performers and Men undertake the majority of music pro- addition, this recognition has supported, and been
can be further illuminated by the lived experiences patrons, and in some cases have been internalised duction, songwriting, and performing (Smith, supported by, research undertaken on the rates
of women pursuing music as a career or hobby. by women in how they interpret their lived Choueiti and Pieper, 2019; APRA, n.d.) of occurrence of sexual harassment and assault
experiences of pursuing a career in music. Men hold over two thirds of senior and strate- at Australian music festivals (Nazaroff, 2019).
Glitsos (2017; 2019) for example, has examined gic roles in key Australian music organisations
the personal experiences of female musicians in Despite strong contributions to music and and win the majority of national music awards Recognising the continued challenges women face
Perth, Western Australia in the early Rock’n’Roll associated culture through a combination of in Australia (Cooper, Coles and Hanna-Osborne, in being able to develop their careers and engage
music scene between the 1950s and 1970s, female vocalists becoming prominent in the 2017) safely in music activity, a range of programs and
and their experiences engaging with the local local rock’n’roll scene, considerable coverage of initiatives have been enacted and/or put forward
Male performers are programmed in the majori-
Metal scene in a present-day context. Glitsos’ female musicians on local Perth television, and in recent years within Australia and around the
ty of festival slots (Davies, 2018)
findings, similar to the Fair Play WA findings, are an overall increase in female instrumentalists world in order to reduce and prevent instances
that women have not been taken as seriously as between the 1950s and early 1970s, women’s Male musicians receive the majority of radio of sexual harassment and assault in the music
their male counterparts in their music-making contributions to music history have still largely airplay across Australian radio outlets and con- industry and to support women to pursue their
endeavours. This ranges from having to prove gone unrecognised (Glitsos, 2017). While this sistently chart more frequently in listener voted music careers. These include the funding of
one’s musical abilities and skills on stage, to in part can be attributed to the ways in which polls such as triple j’s Hottest 100 (Moran, 2019; state based sexual assault prevention programs
not being expected to be very knowledgeable women’s careers were stifled due to family ties Esposito, 2016) (Stockwell, 2017), the establishment of global
about musical equipment (2017, p. 11). and commitments, preventing them relocating The male dominance revealed in this snapshot databases for women in music (Jones, 2018), and
in order to continue pursuing their career (which highlights challenges women experience in being the global proliferation of the Girls Rock! Camps
Negative perceptions about women’s musical then ended suddenly), the masculine dominance able to develop, sustain and progress their music (GRCF, n.d). Initiatives such as these ensure that
abilities, skills and knowledge are further fuelled of the industry, as well as the active exclusion of careers. While there have been some positive women are provided with guidance, support
by the lack of recognition of their contributions to women from scene activities (such as post-show changes in recent years (cf Davies, 2018), much and safety as they navigate their careers. Similar
music. This lack of recognition is, in turn, influenced socialising), serve to reinforce a masculine, and work remains. When women’s career progression initiatives and approaches are recommended
by a range of cultural and societal attitudes toward therefore, male dominant discourse. This discourse is limited and/or they do not continue to pursue in this report based on the participants’
women, their creative and cultural influence, and further strengthened perceptions about the role of music careers at the same rate as their male perspectives and the analysis undertaken of
contributions to life outside the home. Where women in music, whereby women were reduced counterparts, their capacity to have their their experiences and the recognition of best
Strong’s work (2011) has focused on the Grunge to being viewed as hypersexualised performers contributions recognised is also diminished. To this practices. We now turn our attention to an
and associated Riot Grrrl scene, examining this and/or hypersexualised consumers (i.e. ‘groupies’) end, the ‘forgetting’ of women in popular music analysis of the research findings before presenting
in relation to the experiences of women in Perth, (Glitsos, 2017). Such perceptions persist today, histories as discussed above will continue to occur our recommendations in greater detail.
particularly in the 1950s – 1970s, reveals tensions and as revealed in the findings from Fair Play WA, until such time that gender parity is achieved
specific to living in a geographically isolated and continue to influence women’s experiences of
largely suburban locale as well as a place heavily pursuing their careers and/or consuming music.
steeped in colonialism, a frontier mythology and
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2. Introduction
Drawing from a combination of the industry Workplace support was examined in relation to a
and consumer surveys as well as the qualitative range of leave and flexible working arrangements,
research interviews and venue questionnaires, this such as that required for artistic commitments,
chapter presents the thematically grouped findings study, annual leave, carers leave and maternity
from the Fair Play WA fieldwork. It first provides leave. On average respondents agreed that their
an overview of the underlying characteristics of workplace was accommodating toward their
the industry members’ careers, with a specific commitments. The survey revealed that artistic
focus on support offered by employers, their commitments were the most accommodated, with
broader peer and familial networks, their career 74% in agreeance, and 39% strongly agreeing.
commitment and career challenges. It then delves Study commitments were seen as supported by
into findings relating to gender discrimination the workplaces of 69% of respondents (with a
and equality before leading into a discussion 12% rate of disagreement). Overall, agreeance
regarding rates of sexual harassment and the for maternity leave was the lowest (at 52%)
ways in which select venues work to address and of the sample, with annual leave receiving the
prevent such instances. Taken collectively, the strongest level of disagreement. Furthermore,
findings presented in this chapter reveal that while 34% of the sample disagreed that their workplaces
industry members and musicians are positive were accommodating to annual leave, with
about, and committed to continuing their careers, 25% in strong disagreement. Examining career
work remains to be done in order to overcome support more broadly, in relation to support and
issues of gender discrimination, instances of sexual encouragement of family and friends, the survey
harassment, increase overall safety at live music revealed that while 84% agreed that family and
events and keep women in music beyond school friends constituted their support network, only
and working in the industry beyond the early 66% agreed that they received encouragement
stages of their careers. The findings discussed from this particular support network. Overall,
here, as well as the broader data sets, are the similar response rates were gleaned across
basis of Fair Play WA’s recommendations. the genders in relation to workplace leave and
flexible working arrangements. Male respondents
2.1 Participants’ Underlying Career were, however, in a slightly higher percentage of
Characteristics: Employer Support, agreement than female respondents that they
were encouraged in their careers (0.30 vs 0.21).
Career Support Networks, Career In terms of confidence to voice their concerns,
Commitment, Career Challenges and 62% of overall participants agreed that they were
Career Needs confident to voice their concerns, while 28% of
participants disagreed with this statement. More
The industry members interviewed and surveyed male respondents agreed on average that they
were generally positive about their music careers, felt confident voicing their concerns to employers,
despite 72% of survey respondents (female/male/ while female respondents were essentially
other) earning under $20,000 annually from music. neutral in their response to this statement (0.41
The survey revealed that overall 86% of female vs 0.04). While the industry participants were
musician respondents believed they had the talent generally positive about their music careers,
required to succeed, with 58% strongly agreeing from the perspective of their talents, as well as
with this sentiment. Only 6% disagreed with the the support and encouragement they received
statement that they had the talent to succeed. from their workplaces and networks of family
In turn, participants were broadly supported in and friends, they were not immune from the
their music careers through a combination of challenges associated with developing, sustaining
understanding and accommodating workplaces and navigating their careers in the music industry.
(the majority of which were non-music related ‘day
jobs’), as well as supportive friends and family.
14 The Bird at WAMFest 2019, photographer: Annie Harvey 15
WAM Fair Play WA Report 2020 WAM Fair Play WA Report 2020
Average Agreeance Scores for Custom Dimension Statements by Gender Please indicate if you believe more opportunities for, or an increase in, the following would help your career?
Talent to Succeed 0.61
0.58 55%
0.53 Networking 64%
Family and Friends Support 0.57
Promotion 52%
0.30 48%
Receive Encouragement in Career 0.21 60%
Wages 54%
0.41 43%
0.04 Experience 45%
Easy to Find Work -0.03 26%
-0.17 Skills training 41%
-0.17 Female mentor 21%
Career Change 0.13 67%
17%
-0.11 Female role models 65%
0.50
Male mentor 25%
-0.46 14%
0.30 30%
-0.53 42%
Sexually Harassed while Employed 0.24 7%
Flexible caring hours 16%
Gender Discrimination Barriers -0.58 7%
0.12 Other 5%
-0.63
-0.06 0% 10% 20% 30% 40% 50% 60% 70% 80%
-0.80 -0.60 -0.40 -0.20 0.00 0.20 0.40 0.60 0.80 Male Female
Male Female
Culture Counts 2018, Main Artists/Industry Survey; n=~198 (Varies per dimension) Culture Counts 2018, Main Artists/Industry Survey; base n = 303; effective sample size = 184 (61%).
Note respondents could choose multiple options.
Participants were asked to identify the main strategy employed for career development Reflective of this desire to have female mentors, Getting some of these talented ladies from WA
challenges they experienced in their music was engaging in informal networking events numerous interviewees reflected on how female in schools taking up music classes, with a focus
careers in relation to a range of financial and (22%), with attendance at industry events and mentors would have assisted in the development on contemporary music. Having a good music
employment factors as well as those relating to organisation memberships also proving useful of their music careers, particularly in their early teacher is key; but having a ladies roadshow
workplace conditions and experiences. In addition, to 15% and 13% of the sample respectively. experiences of engaging with the industry. As one would be great. Like Girls Rock. Pre-entry to
participants were asked about their own levels of Male respondents on average found it easier to interviewee, a radio announcer, reflected a lack of industry. If they grow up with parity there,
confidence and instances of personal risk, as well find work in the music industry than females. a female mentor impacted how her music career the guys will not think about the disparity.
as opportunities for further educational attainment. developed,
Financial pressure was identified as the main Across both genders, respondents believed that In recent years work has been undertaken to
because I haven’t had a lot of female mentorship,
challenge for the participants working in the music networking, promotion and wage increases support a stronger engagement of women in the
that has held me back. As a 31 year old,
industry, with 16% identifying this as a challenge would be of most assistance to develop their WA music industry. As previously discussed in the
sometimes I think if I’d been more sure of myself,
for them. In addition, limited career development, a careers, and reduce challenges associated with Introduction, this has included the establishment
working in the industry, particularly in relation or had more guidance, or had more examples of
shortage of job opportunities, and poor job security and expansion of a range of programs and
to their engagement with the live music sector. women in these roles – maybe I could have done
were also identified as significant challenges events that specifically support, encourage
In addition, 67% of females believed a female this five years ago. I think it took me a long time
to career development and sustentation. and celebrate women in music. While these are
mentor would improve their career development to get the [confidence] to do what I’ve done.
important and significant developments, it is
Quizzed about the strategies they employed to and 65% identified that female role models would I’m also seeing a lot more women coming out
also important to ensure that these and other
develop their careers, participants were asked improve their career development. Only 25% and talking about their experience. I used to be
initiatives do not result in a ‘quota for quota’s
about whether they engaged in a range of formal of males identified having a male mentor as an not comfortable talking about my experience as sake’ perception, where women are invited to
and informal networking, formal and informal opportunity to improve career development. female because I thought it was a bit whingey. engage and represent at particular events purely
mentoring arrangements, attending industry Female respondents notably wanted skills training, But now I feel like it’s okay to talk about it. for the sake of trying to demonstrate diversity
events through industry organisations and an increase in confidence, female mentorship/ in voices, experiences and opinions. As one
undertaking volunteer work. The most common role models and flexible caring hours. Two other interviewees reflected on the importance
interviewee, a radio announcer, reflected:
of female mentors, particularly in schools, as
one, a guitar technician/sales person explained:
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There have been situations that have pissed me 2.2 Gender Discrimination, Equality Have you experienced discrimination or disadvantage in the WA music industry because of your gender?
off [for example, for one event] someone asked and Sexual Harassment
me last minute to [be the Master of Ceremonies]
and I said no because I wouldn’t be very good. I I rienced gender discrimination. Analysis of 100%
just wanted some more notice, because it was a average agreeance scores strongly indicated
females were significantly more likely to have 31%
busy time. And [my boss received] a call saying 80%
their ‘attempts at affirmative action didn’t work, faced gender discrimination in the WA music
industry than males. A Fisher’s Exact Test 60% 82% Not Experienced
did you want to MC?’. I was so angry, because Discrimination due to
I knew I was just being asked because I was a estimated an odds ratio of around 10, implying
40% Gender
woman. I could think of plenty of great women females were 10 times more likely to have
faced gender discrimination than males. 20%
who could MC and I don’t think enough thought
was given. It made me feel that imposter thing
0%
again; these old guys run the system and they’ve Female Male
given me this chance that I’ve given up.
Culture Counts 2018, Main Artists/Industry Survey; Total sample: base n = 303; effective sample size = 96 (32%)
Supporting and encouraging more women in
music, working to overcome instances of gender
discrimination, and broadly encouraging an Specifics of the experiences of gender The letdowns will never override the good
equitable and safe experience across the industry, discrimination against women in the music industry that’s happened in my career. The generation
as practitioners and consumers, requires a nuanced included: not being taken as seriously as their now didn’t need to work as hard as us. It’s
approach, clear dialogues around motivations, male counterparts (comments such as “you’re always been male dominated; aboriginal culture
and a long term plan that utilises female role good for a girl” or having one’s technical abilities has always been male-dominated. But that is
models to normalise women in positions of power questioned were common), not being provided with starting to change a bit now; and the males need
in music, while at the same time experiences of similarly high-profile performance slots which are to encourage their women to be involved.
discrimination and harassment are eliminated. provided to their male counterparts (and instead
being programmed as an opener), being under paid It was also not uncommon for women to feel or
and/or under-valued as a performer, and broadly to be expressly excluded from areas and facets of
not receiving the same recognition as their male activity considered as ‘boys clubs’. One participant
peers. This was broadly experienced by survey for example, who had been performing at an
respondents and interviewees alike, and in one event “was denied entry backstage as it was boys
case, an Indigenous musician living in a regional only”, while another reflected on how certain
area of the state found that she was offered far less sectors of the industry can become exclusionary
prominent performance opportunities than her to women due to the dominance of men, stating
male counterparts in her local music community: that “producing is a very male dominated ‘club’
which can be challenging for women in the
A separate set of barriers [exist for me] industry.” In addition, several participants shared
as an indigenous female artist. A lot of experiences of being sexualised as a musician
men still like to control that. I haven’t been and/or being judged for their looks, while eleven
asked to play in Broome for many years, women shared explicit stories of being sexually
but I still get asked to play in Perth. harassed, and/or assaulted while working in the
music industry. These experiences included:
To reiterate, as mentioned in the Research sexist remarks and verbal abuse, being assaulted
Limitations section we are unable to delve fully at performances, having jobs offers act as a
into an intersectional career experience of the pretext for sexual advances, and in one case, a
additional barriers experienced by musicians respondent had a male promoter expose himself
who are racially, ethnically, gender and/or to her while in a backstage area. Reflective of
sexually diverse, and/or of different abilities. the insidious nature of gender discrimination and
For this interviewee, her opportunities to sexual harassment, one participant reflected:
perform are further limited by her indigeneity,
and programmers and audiences perceptions
about which indigenous performers are
allowed to take up space. As she explained:
18 MissGenius at WAMFest 2019, photographer: Adrian Thompson 19WAM Fair Play WA Report 2020 WAM Fair Play WA Report 2020
[There are] too many instances to describe. work so much harder just to be at the same level. While the experiences of gender discrimination Several male respondents recalled instances where
[I’ve] been offered jobs that turned out to be People consistently question the work. Getting put and sexual harassment were predominantly they or a male peer were turned down for or
pretexts for being hit on. [I’ve] been initially down or assuming you don’t know what you’re doing experienced by women (as one male respondent removed from a line up to ensure gender balance
passed over for jobs because I was seen as less right away without giving you a chance. As a female noted “I’m a male, I don’t get discriminated in the line-up or in a band. Perspectives such as
physically capable due to my gender but then in this industry, you have to work so much harder just against. I’m lucky”), it is important to note these, while in the minority in this data, reveal that
hired to fill in and doing the job anyway. [I’ve] to be respected on a normal level. There’s all these that sexual harassment can, and does happen, work remains to be done in shifting perceptions
been working gigs and being asked for pashes preconceived ideas that you have to battle against. to men. For example, one male participant around why gender parity matters and reaching
from colleagues because that was seen as OK. shared a detailed account of being sexually a shared understanding that gender parity is a
One regionally-based female artist highlighted the harassed by a female record label executive: work in progress, and when it occurs it will benefit
Another participant reflected that attitudes risks faced by female musicians leaving venues not only women but the industry as a whole.
toward particular roles in the industry perpetuated after performing and of playing solo gigs at regional I had a female A&R rep from a major record
sexist attitudes and inappropriate behaviour: music venues, recalling one particular incident: label fly out to Perth to check out my band Interviewees’ experiences of gender discrimination
and hang and get to know us. After a show she similarly ranged from perceptions about an
As door staff you’re facing, head-on, to a lot of There had been a brawl outside [during my gig], and I started making very strong advances, chasing inability to carry out their job, their careers,
punters that don’t understand boundaries or wasn’t able to leave this venue for 2 hours anyway. me about and touching me up under the table and the perceptions about the roles which they
what’s appropriate, and it’s fairly hard to be taken Before that happened at the end of my show, a we were all sitting at. She said that she thought should be holding in the industry. For example,
seriously when 99% of people refer to your job guy was trying to pick me up – to which I said I was we had a connection and I pointed out that as a high-profile music manager reflected:
title as either “door girl” or “door bitch”. There’s flattered but I was a happily married woman. His I’m generally friendly and professional and
When the boys were really young and I was
a constant treading the line between being a mate said ‘don’t think I don’t know what you’re as this was a business trip, the point was to
their tour manager and on the road with them
“bitch” or being a sweet-as-pie “girl” [and] that doing up here touring on your own, away from bond over our shared love of music and plan
and everyone used to ask if I was their mum. If
is exhausting. I’ve also had issues where those your husband – we all know that you want it’. So to make some cool records and build the band
that was a guy, that wouldn’t have happened.
above in the chain of command haven’t taken after I was able to leave the venue, that guy and together. It was flattering but very frustrating
That was an interesting thing for me. Why
threatening or aggressive patrons seriously, then his mate and another mate were actually down and I can only guess as to why no deal was ever
does no one think I could be their manager?
I have to deal with them not only at that venue the road waiting for me. They tried to block my presented to us after her being so incredible
where they’ve been allowed to continue to attend, way to get out and I finished up locking the car enthusiastic and positive about the band. This manager also reflected on an experience
but at other venues I’ve had to work at also. doors and kept driving. I didn’t want to kill him, during a ‘bidding war’ for the band’s publishing
but I figured I was better clipping him with my car As a result of this and other experiences of this rights. With three companies interested, they met
One high-profile WA female musician than the scenario where I’m left with three guys participant, he believed that “females are treated with each to determine which one they would sign
mentioned that despite her success she has in the dark on my own. He threw something at my with far more consideration and respect [than with and recounted an instance in which a label
often been the target of discrimination: car and punching it, but I got out of there safely. men]” in the music industry. In several other head commented on her physical appearance:
cases, male participants expressed that attempts
Still, to this day, I’d rock up to a show with my One participant shared a particularly detailed to correct the gender imbalance in the music ‘What are you? Their back-up singer?’ Which
guitar and my amp and the sound person will account of how gender discrimination industry amounted to discrimination and sexism was unbelievable and we didn’t sign with them.
come up and ask me if I know how to set it all up. resulted in them leaving the industry: against men. As one participant put forth: That wouldn’t have been said to a man.
Even just not even being acknowledged. Or just
rocking up to a gig that my boyfriend is playing, In the 90s I was often the “token female” on the Radio shows and courses that only promote The perceptions about the roles women are
because he’s a musician as well, at a show where bill and as a DJ not a performer- I also experienced female artists are sexist and would not be ‘expected’ to play in the music industry revealed
we’re both playing the line-up and being asked if fellow music industry member patronising allowed to exist if they were male only. Music in the survey data were similarly revealed in the
I’m holding his gear for him – when I’m headlining. me, ridiculing me if I challenged their sexual and art should have nothing to do with gender. interviews and range from: being expected to
comments harassment and pigeon holing me into dress in a particular manner to only participate
Echoing similar comments about being undermined marginalised areas- as cute indie pop regardless if While another reflected: in particular industry functions. Broadly the
professionally one of the interviewees, an award- I had knowledge of wider music genres. I often was data shows a perception that women are not
winning female electronic producer, commented: This is a different perspective, but scholarships
excluded from playing events or participating in seen as holders of positions of power and
and programs that are for women only are
them even if I had been championing the act prior authority. As a Festival Director reflected:
[One of the main barriers], as a writer and discriminating against men. Women in youth
to them becoming more known- I once pestered programs are held up to the limelight and
producer, is when people doubt how much you So often I’ll be somewhere in the music world and
a promoter to bring an electronic artist over to given a few more opportunities than men.
know. Drumming and production – it happens I’ve met people – men – and then I’ll say who I
Perth after flogging their music only to find any I’m not trying to be petty, I am completely
all the time here. [It’s] very male dominated. am and they will go ‘oh!’ and then they treat me
DJ support and interviews were to be given to aware men have dominated the workplace
It’s really common for people to see a female differently. I’ve had a couple of artists come to the
males as I was known as an indie cutesy persona. for ages, but these programs are going to
drummer or producer and undervalue them. You festival and treat me like I must be the cleaner and
Shortly after this I decided to wind down my music throw the balance the other way and men are
get dismissed really quickly. And you have to then I’ll introduce myself and they will apologise.
journalism/DJ ventures and move into education. being discriminated against and left out.
20 21WAM Fair Play WA Report 2020 WAM Fair Play WA Report 2020
I find it really insulting because it doesn’t matter women as well – about my abilities and my in cases where particular genres of music are stronger responses across these questions.
who you are, you should treat people with respect. interests. Undervaluing my skills a bit. I remember perceived to be gender inclusive. For example,
starting at [the station] and immediately getting as one interviewee, a TAFE student who Overall, males generally felt safer than females,
Similarly, as the live Sound Engineer related, stereotyped as someone who wanted to just be a performed in a pop-punk band reflected: had fewer overall concerns, and did not feel
she also deals with such misconceptions: producer or do news reading, not someone who that safety was as high a priority for them when
One of the main issues I have, especially coming engaging in live music activity. For example,
wanted to produce a music show or be in a band.
[Some people will say] ‘Oh are you the event from punk, is that – particularly with consumers female consumers reported at a rate of 57%
manager/door girl/bar staff?’. I don’t get a Reflecting a similar misperception about – they are used to this female-fronted punk and that they had experienced some form of sexual
negative response when I say I’m a sound their capabilities, a guitar technician/sales rock bands. I feel like that’s easier to market harassment on a night out, in comparison to
engineer – it’s just they assume I’m not. person reflects: to consumers. Playing guitar or bass, the 25% of the male participants. Half of the male
Sometimes you have a few bands/acts telling obstacles are in female stereotypes. I want to consumers suggested they had never experienced
you what to do – by the end of it, they go ‘ oh There seems to be this shock when customers just be a pop-punk band; why can’t I be on the sexual harassment or violence, while only 29% of
really like what you did’. I just show them that find out I’m in the guitar department. Getting females in the sample reported the same. From
same level as bands with just guys in them?
I’m good and their attitude is their problem. over that barrier to convince customers [that] it’s the perspective of the industry survey, female
okay and I have the knowledge – to get them to Broadly, however, 67% of consumers agreed that industry practitioners on average agreed that they
Importantly, not all interviewees inherently trust and have confidence in them. And dealing the WA live music community is gender inclusive, had faced sexual harassment when engaging with
viewed their experiences of working in the music with the sexist remarks every day. When I tell and that live music is becoming more accessible the live music sector. While these findings draw
industry through a lens of gender inequality or people the stories, people don’t believe me. I do for women (78%). It should be noted however, on a relatively small sample set (n = 44), a Fishers
discrimination. As one, a journalist, explained, she that 27% of respondents disagreed that the WA Exact Test supports that while the sample is small
stand my ground and retort a bit when I need to
only began doing so, as “gender is a topic right live music community was inclusive of all genders, the gendered differences in experience are highly
– and get cheeky, and sometimes they get taken
now and it’s out there enough that people are with 12% strongly disagreeing with the statement. significant in relation to sexual harassment. With
aback. Some even apologise for their behaviour.
considering it, and it’s opening more opportunities This finding, and particularly when coupled with an odds ratio of 7.74, the survey data implies that
that weren’t available before. I never considered Despite these challenges, this interviewee also the finding that 38% of respondents stated that females were almost eight times more likely to
it before.“ These perceptions can be credited views her gender to be of a benefit in that she they felt intimidated at live music events reveals have experienced sexual harassment or violence
to male dominance of the music industry, as is viewed as approachable. As she explains: that work remains in order to both increase gender at live music events in WA than males. These
outlined in the Introduction to this report as inclusivity in the live music community and to results also strongly speak to established and
well as a normalisation of gender discrimination Sometimes, people are refreshed to see a support a safer environment for consumers, ongoing dialogues around sexual harassment and
and inequality. At the same time, it can also be woman in a role like this and gravitate towards performers and industry members alike. This assault within and beyond the music and broader
a result of these interviewees having otherwise you or the mums and teenage girls affiliate is particularly important given the experiences entertainment industries, particularly the Me
very positive experiences in the music industry, with you. Music stores, especially guitar of industry practitioners discussed earlier in Too movement which has gained considerable
where they have not overtly found that their shops, talk down to you. People feel more relation to the rates of gender discrimination and mainstream recognition and coverage in recent
gender has hindered their careers in any way. comfortable talking to me sometimes. sexual harassment revealed in the survey data. years, and that which was touched on the
Literature Review (Glitsos, 2019; Me Too, 2018).
That said, initiatives which support and Reflecting a similar benefit that her gender In addition, examining discrimination in relation to
encourage women in music, as well as those has played in her career, a live sound the spaces in which it occurs, 28% of the industry While both male and female consumer respondents
which celebrate their accomplishments, not technician recalled: respondents who reported experiencing gender agreed that they would always report witnessed
only bring awareness to the gender divide discrimination noted that this had occurred in a sexual harassment, female respondents agreed
that exists in the industry, but also work to I’ve been super lucky. Maybe even my gender live music venue. Gender discrimination after a on average more strongly with this statement.
overcome perceptions about the role of women has benefitted me – they are willing to give performance was 4% more frequent than gender At the same time, however, females on average
in music. As discussed in the Introduction, it me a go. I’ve always been offered help and discrimination before a performance. In addition, gave a neutral response to the statement that
has historically not been uncommon for female nobody has treated me any differently, workplaces were also frequently identified as they would always report their own experience
contemporary music performers in Western especially at [my first employer]. being a location in which gender discrimination of sexual harassment to venue staff while males
Australia to be underestimated in their abilities had been experienced. When examining issues on average agreed with the statement. Reflecting
(cf Glitsos 2017, 2019). Several interviewees, for The consumer survey revealed a strong demand, and perspectives relating to gender discrimination, on a particularly distressing experience for
example, shared experiences in which they were of 94%, to see more females performing live. equality and sexual harassment from the example, one interviewee, a university student
underestimated in their abilities, career goals, or This is despite a 73% of consumers responding perspective of consumers, their experiences who also performs in cover bands reflects:
the roles they held, as a result of their gender. For that they are ‘used to’ seeing all-male line ups, are more closely focused on the live music
example, as one, a radio announcer, reported: and a 60% agreeance that at most performances experience and their engagement with the live I feel like I can’t remember being harassed myself
they attend there are no female performers. music space. Examining perceptions of safety recently… [But] I was doing a gig in Geraldton last
Early on, and occasionally now with people Furthermore, 65% of respondents state that and incidences of sexual harassment reveals a year in a cover band. There were some [men].
that don’t know me, men particularly make gender had no impact on whether or not they gendered variance in responses to these questions, They verbally harassed me as I was going into
assumptions about me and they do it to other attended a show. These nuances remain even with female identifying consumers revealing the venue. I played a gig and couple of hours
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