Reading and Leeds Festival have released the first wave of acts for their 2020 line-up, among which there is a disappointing number of women performing, specifically, just 20 out of the 92 names listed on the poster are women, non-binary, or female-fronted bands. This distinct lack of female representation is not new to the festival, which has only hosted one female headliner over the past two decades (Paramore co-headlined with QOTSA in 2014). In previous years, when the festival was heavily rock-oriented, such a lack of diversity may have been excused given the male-dominated nature of the genre, however, as the festival has grown further away from its rock identity and has become more eclectic, such diversification has not been reflected in the representation of genders.

Out of the 18 acts performing on the Main Stage this year, only three are female-led

Out of the 18 acts performing on the Main Stage this year, only three are female-led (Mabel, Lady Leshurr and Bloxx) and none of their names are printed in the same large, bold, attention-grabbing font as their male counterparts on the poster. Critics of the line-up have edited the poster to remove all the male acts, a tradition which began in 2015 and has continued to serve as a visual reminder for people to recognise the festival’s lack of commitment to representing female artists. This is not the only festival guilty of lacking female representation, as Vanessa Reed, CEO of the Performing Right Society for Music has stated, ‘Last year, on average, women made up 26% of the festival line–ups in the UK’ which she and the rest of the PRS Foundation aim to change, pledging to achieve a 50/50 gender split of festival line-ups by 2022. 

The argument that there ‘aren’t enough female acts’ simply won’t suffice anymore, as The 1975’s Matty Healy has proven in recent weeks. The band released their own line-up for a show in Finsbury Park this July, which will feature seven support acts, six of which are female performers. Healy said this wasn’t intended as any kind of statement, but, rather, the artists were selected because they are representative of what the band and its fans enjoy listening to. Representing women in creative industries should not be viewed simply as a form of tokenism but should instead illustrate their work is as equally valid, sought after and appreciated by audiences as their male counterparts. 

Representing women in creative industries should not be viewed simply as a form of tokenism but should instead illustrate their work is as equally valid

Healy has taken further action in light of the comments made by The Guardian’s Music Editor Laura Snapes, who stated on twitter ‘every male act playing that festival who isn’t using their power to demand better representation on bills should take a long hard look at themselves’, arguing this is an issue whose responsibility lies not only with the bookers and promoters, but all members of the music industry including – and, arguably, most vitally – the artists themselves. Having headlined Reading and Leeds last year, Healy stated in response that he will no longer play festivals who are not acceptably representing all genders, writing ‘this is how male artists can be true allies’. 

It is known all too well that female artists are not taken as seriously as their male counterparts within creative industries

The problems discussed in this article are not new and are certainly not isolated to the music industry as, similarly to the refutation of female directors nominated for the Oscars, it is known all too well that female artists are not taken as seriously as their male counterparts within creative industries. In his 2019 study ‘Inclusion in the Recording Studio’, Dr Stacey L. Smith uncovered 43% of female music artists admitted their colleagues had dismissed or discounted their abilities, whilst 92% said their vision or leadership had been resisted through the recording process. Dr Smith states, within the music industry, ‘The perception of women is highly stereotypical, sexualized, and without skill. Until those core beliefs are altered, women will continue to face a roadblock as they navigate their careers.’ 

The perception of women as lesser able than male artists will continue to block the normalisation of female headliners and the effort towards an equal representation of genders at festivals, thus perpetuating the problem within the music industry further as it is such lack of role models which discourages young girls from pursuing a career in the sector. Annie Mac wrote on twitter ‘For all the 16-year-old girls going to their first festival at Reading and Leeds 2020. Just know that you DO belong on those stages.’ The Reading and Leeds line-up has served as a reminder of the long way creative industries have to go towards rectifying the deep-rooted, systemic problems of gender inequality within the field and creating a space free from the outdated stereotype that the material produced by male artists is inherently more desired than women. 

 

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