Hello, hello!

We’ll get back to the drudgery of ranting about the Patriarchy and music in general, very soon, but first of all – here’s another pertinent protest song from a female-fronted band.  Enjoy!

Official Website

I hate to break the news but it’s true
They’re coming for you
Their war-paint all red, white and blue
Stop running, running

They talk the all-american way
They’re coming, building
walls from Brighton to Morecambe Bay

If you’re not frightened yet, you could be
If you’re not fighting yet, you should be
Come and meet me on the streets
Marching to the beat

Be wary of their cold gaslit truths
They’re coming for you
Demanding hate and fear you can prove
Stop running, running

Their bark might be louder than bite
They’re coming, don’t under-
estimate the hate they incite


So keep your tiny hands off our rights
So keep your tiny hands off our rights
So keep your tiny hands off our rights
So keep your tiny hands off our rights



Official Website



For The Angry Young Women

I was going to write a blog post that was very historical and informative – about women in music and suchlike. Then I read an article on The Guardian about the furious, but not always righteous, women now appearing on our TVs and I changed my mind.

It’s not just that women aren’t usually ‘allowed’ to be angry – that they get patronised or dismissed and face social and professional sanctions – it’s that the Angry Young Man is so celebrated an archetype.  That’s what stings.

Of course, in ‘real life’ no one wants a boss, colleague, sibling, parent, etc., to be angry all the time; it would all get a bit ‘The Boy Who Cried Wolf’ eventually. You may well sneer and sigh at your angry brother just as much you do at your angry female colleague. In the arts, on the other hand, oh how we love an angry young man!

It’s probably fair to say that John Osborne’s Jimmy Porter was our first Angry Young Man (although in some ways his tirades bear a resemblance to those of Shakespeare’s Hamlet). A cruel, bitter, openly misogynistic man; not truly anti-establishment – just anti-everything. John Osborne was making a statement; Jimmy Porter is just plain old angry.

In a lot of ways, the Angry Young Man, as a character, a trope, was an accidental by-product of this play. But it stuck.

Why ‘brooding’ or ‘angst-ridden’ are words that can be attached to music performed by men – and meant positively – whilst very similar music performed by women is labelled ‘confessional’ is confounding. Unless, of course, you consider that ‘confession’ is a word bound up with sin and guilt – kind of like being female has been since the Old Testament.

And music that would be described as angry? It’s not true to say that women aren’t there, making angry music, but there are problems

As part of a recent project, I extensively researched and wrote about the RIOT GRRRL movement (1990s, US). My God were these women angry. They raged about some of the worst things a woman can experience – incest, domestic abuse, rape. The punkiest punks in the movement didn’t sing; they screamed.

The media took them to pieces – to the point where the figurehead band of RIOT GRRRL, Bikini Kill, lead a media blackout and most of the rest of the movement followed. Because their lyrics addressed such themes, stories were concocted about band members having been, at the extreme end, abused or raped, and at the less extreme end, jilted by boys. Why else would they be so hysterical?

And this isn’t something that has gone away. If it had, The Guardian wouldn’t have run that piece about angry women – their appearance in mainstream popular culture is news.  

Here I, your humble writer, must declare an interest. I am the (electric) guitarist, lead songwriter and singer of rock duo KES’ CONSCIENCE. And I am angry. About almost everything. All the time. It’s not always a just anger, rational or well-directed. It’s not always eloquent, like Jimmy Porter’s, or righteous like some of the RIOT GRRRLs’.

And while I would like the right to be angry about everything all the time… well, I realise that that’s asking rather a lot. So, on behalf of myself and all the Angry Young Women, I’ll demand only this:

Listen first.

Feel free to then dismiss and sneer at us if you can honestly say you’d do the same to a man saying or singing the same things. It’s the very minimum we could ask.

In amongst the everyday frustrations there are valid, detailed political and social views that deserve to be listened to. Most of an angry man’s anger is paid attention to so when he expresses something political, subtle or intelligent, he is listened to. An angry woman’s anger is dismissed as though she is ranting about spilled nail polish or, worse, it’s her time of the month. Her valid, intelligent points go unheard.

And let’s not forget that, between the gender pay gap and FGM, women have a lot to be angry about.

In music, anger is a potent force. Why, as female musicians, are we only ‘allowed’ to create that soaring of heart and sinking of stomach, that vicious burst of adrenaline, when we are lamenting lost love or turning the listener on? At best, if it is acknowleged, our anger is attributed to having had a lover ‘stolen’ from us or a man reject us. That might make us angry but there’s far more to our anger than that.

The Angry Young Man in culture is a persona, a whole character, and an accepted one. An angry young woman is either just a singer who sometimes gets her knickers in a twist or a hysterical harpy. Why can’t we have Angry Young Women? Artistic, ‘misunderstood’, angry young women – whole personas accepted by popular culture; sometimes even loved.

Listened to.

We are sick of being dismissed before we are even heard – it’s only making us angrier.

The Music Biz Pay Gap

This week a new IFS report on the gender pay gap (UK) was published.  The key – and by now oft-quoted – statistics were: (a) women earn an average of 18% less per hour than men, and (b) by  the time a woman’s first child is 12 years old,  she will be earning an average  of 33% less per hour.

While the narrowing of the pay gap – 18%, down from 23% in 2003 – is positive, there is no doubt that the figures, on the face of it, are pretty shocking.  Putting an exact figure on the current pay gap in music is difficult (trust me, I’ve been Googling for hours) but with almost 50% of women in the industry earning less than £10,000 per annum – now less than the national minimum wage, let alone the living wage – and only 6% earning more than £29,000, there’s clearly a problem. Probably as a result of these wages, only 30% of London’s music industry personnel are female.


The numbers revealed in the new study do not necessarily mean that women are earning 18% less than men doing exactly the same jobs. Rather, they give an indication of how much a woman will earn over her lifetime, compared to a man.


The reasons given include:

There are fewer women ‘at the top’ than men and those who achieve directorships or CEO positions can expect to enjoy £16,500 less than their male counterparts.

73% of entry / junior roles are filled by women and women tend to take lower paid jobs; and almost 2/3 of those earning £7 per hour or less are female.

Male managers (of any variety – not just the musical kind) are 40% more like to be promoted than female managers.  After maternity leave, women tend to go back to work part-time; this does not necessarily result in a pay cut (per hour), but results instead in missed promotion opportunities. The pay gap therefore begins to widen as men climb the career ladder and women stay where they are.


A related stat from the music industry: Women working in the music business are likely to have higher qualifications than their male counterparts, but “women only have a 15% chance of owning a label”.


The assertion that women are simply choosing to take lower paid jobs is troubling.  It muddies the water somewhat – ‘Women aren’t being paid less than men?  They’re just choosing jobs that pay less?  So what’s the problem?’  Rather than women being paid less because they are taking low paid jobs, some jobs are low-paying because they are associated with women.

“According to the Fawcett Society, jobs traditionally done by women, such as cleaning, catering and caring, are “undervalued and paid less than jobs traditionally done by men, such as construction, transportation and skilled trades” meaning “men’s work” is generally given a higher value both socially and economically.”
Atkinson, 2016 (BBC)


Similarly, the way in which the pay gap for women widens after becoming mothers does not mean that women choose lower wages when they choose to start a family. It seems fair that someone working fewer hours will be not be promoted, but that’s not the problem. The problem is that women are doing a disproportionate amount of childcare.

“ Implying that childcare is firmly a woman’s responsibility permits the gender pay gap to continue. It allows women to take the burden of childcare and the lower wages it brings with it, rather than encourage men to help and employers to make better provisions for new parents.

It’s particularly telling that the report found male employment patterns are almost totally unresponsive to the arrival of children. While their hours do not decrease, women’s do.” 

Sanghani, 2016 (Telegraph)

Women are also expected to take on greater responsibilities when it comes to caring for sick or elderly relatives, which can lead to them working fewer hours.  This indicates that it is caring work in general that women are disproportionately burdened with, not just childcare.  This can be a particular problem in the entertainment industries as they often demand a lot of travel and long hours.

“[For Anna Harvey] being a single mother of two had impacted severely on her career “… It is not a matter of whether your kids mind or not, but whether you have enough money to pay for a nanny.” The 94% of women who earn less than £29,000 – and the nearly half who earn less than £10,000 – would most likely have difficulties affording childcare without a second breadwinner in the family.”

Lindvall, 2010 (Guardian)


There is a culture within the music industry that objectifies, demeans, and patronises women (and worse), which probably has a direct impact on the pay that women in the industry receive and is definitely responsible for the lack of women in the industry overall. This disparity leads to there being fewer women to put their heads above the parapet and challenge the gender inequality in the industry. All this while societal norms pull women back into the home and away from the music business.

The most crucial thing  is to enforce equal pay as far as possible, ensure provision for equal paternal leave, and equal opportunities for promotion and career advancement, across industries.

Why Aren’t Women Represented at Music Festivals?

It’s festival season! Last week, we had an article published on the Fawcett Society blog, discussing the representation of women at festivals.

You can read the article on their site (follow this link), or read the copy below.

We associate a lot of things with music: happiness, sadness, fame, glamour, festivals, friends, enemies, love, hate, and heartbreak – but, for most of us, not sexism.

However, in recent years many festivals have been called out for the lack of women of their line-ups. Last year’s Reading and Leeds line-up came under particular scrutiny after a poster appeared online showing only the acts that had at least one female member. It revealed that only 9 of the 96 announced acts met this criterion. Commentators on social media declared that female acts simply were not of a standard with male acts; in response, a writer for VICE magazine compiled a list of around 90 successful acts with at least one woman in them.

Part of the difficulty in getting more women onto festival line-ups is the pro-male bias of the rest of the music industry.  For example, in 2012 online feminist magazine The F Word reported that music magazines The Word, Classic Rock, Mojo, Q, and Kerrang! all identified their target demographics as male. As such, they are less likely to dedicate column inches to female artists. This means that emerging female rock, indie or metal artists have to find other ways of reaching and expanding their audiences. As a result, female acts find mainstream success harder to achieve through traditional means, and are therefore less likely to be booked to play festivals.

One excuse given for the male-dominated line-ups is that the traditional record industry has been in decline, so festivals are not taking the risk of booking less established bands. The most established rock acts are male. Another is that, while men tend to dominate the rock and indie scene, female artists dominate the pop world.

In light of the poor press coverage of female acts, plus the high fees festivals are paying artists and the fact that recorded music sales fell by 41% between 2000 and 2013, it would be greatly beneficial to female artists to be able to play major festivals. It would provide the income to supplement the poor press coverage with more marketing and PR, alongside directly providing exposure. This would allow the artists to grow their audiences, which would in turn lead to further festival bookings.


It is against this (frustratingly unequal) backdrop that various support networks for women in music have appeared.

This year’s Glastonbury festival will introduce a women-only venue called The Sisterhood, which has been simultaneously hailed by some as the ‘revolutionary clubhouse’ that its organisers want it to be, and mauled by critics and commentators. Some claim reverse sexism, others that women-only spaces are regressive and an unhealthy, unhelpful addition to the feminist cause. In reality, the need for female-only spaces at festivals is very real, and the chance for women to connect, network, share their stories, have fun and learn the best way to support each other” should not be passed up; not in a culture that prioritises maleness so extensively.


Away from Glastonbury, Sound Women is an organisation that supports and celebrates women working in radio, for example, and Girls Rock London sets up jam sessions and performance opportunities for women and girls to play music in London. TYCI is an artist-run collective “exploring and celebrating all things femme”. My recently-launched site – JUST A GRRRL – is all about connecting women in the industry with one another.

JUST A GRRRL has numerous information pages, including overviews of the Music Industry, Feminism, and the issues specific to women in the music industry, plus a chat forum where women in the industry can get advice, find mentors, and start coming up with solutions to the problems they encounter.  There is also a blog that anyone can contribute to (seriously, email us!).

We sincerely believe that an accessible, safe, online space like JUST A GRRRL can lay the foundations for greater gender equality in the music industry.

Please consider this your invitation to join the conversation.


Katherine Stewart 

Katherine is a student and musician (KES’ CONSCIENCE) and the administrator of  For more information about JUST A GRRL email, see the Facebook page, or follow @justgrrrls on Twitter.  


We recently contributed a piece to TYCI (I won’t decode that acronym – my mother might be reading – just know that they’re an awesome zine/blog/podcast/collective dedicated to “exploring and celebrating all things femme”).

There’s a taster for you below. Click here to read the rest.


On the face of it, the music industry doesn’t look hugely male-dominated. Adele, Rihanna, Beyonce and Sia (to name but a few) all regularly top singles and album charts worldwide and make more money than most of us can fathom.

When we think about gender inequality in the entertainment industries, we tend to think of objectification first and foremost. However, while the objectification is of course a problem, gender inequality in music goes much, much deeper than that…