Britain’s world-class music industry has a dark secret: it’s still a boys’ club
Today an important parliamentary report was published on Britain’s music industry. Reflecting on the findings of the women and equalities committee’s Misogyny in Music research, I felt deeply moved yet not surprised. The 74-page document is like a mirror, reflecting the systemic barriers and biases that women confront every day in the music industry. It captures a disturbing image of underrepresentation, discrimination and abuse that is cloaked in a culture of silence, and a lack of understanding about intersectionality.
As a Black woman in music, I recognise these challenges intimately. The report’s revelation that women, particularly Black women, are grossly underrepresented in key roles, face persistent gender discrimination and sexual abuse and suffer mental health impacts owing to misogyny, resonates with my experiences and those of many others. It is disheartening yet reaffirming to see that our struggles are not imagined, but are rooted in a broader systemic problem.
The music industry’s entrenched gatekeeping practices are deeply concerning. Often perceived as forwardthinking, the industry is, in reality, dominated by an exclusive “boys’ club” culture, to quote respondents to the report. This mindset manifests in favouring certain groups, evident in festival lineups, artist rosters, recording studios and the broader industry workforce. It is also present in the way sexualisation is favoured over genuine artistry and authenticity. Such preservation of the status quo effectively bars diverse talents and voices from gaining entry and recognition. We must work together to remove the barriers that have long hindered the progress of women in our industry.
One issue raised by the report on which we must take a strong stand is the misuse of non-disclosure agreements (NDAs). WEC recommends the government ban the use of NDAs and similar confidentiality agreements in cases of sexual abuse, harassment, bullying or discrimination. This would be a significant step towards maintaining the integrity of our industry and ensuring justice and transparency prevail.
Moreover, the report also underscores the importance of intersectionality: the music industry’s challenges are not just about gender or race in isolation, but about how these identities intersect, creating unique experiences of discrimination and marginalisation.
The evidence piles up. In 2021, Black Lives in Music published a report titled Being Black in the UK Music Industry; the data showed that Black women are paid 19% less than Black men, 25% less than white women and 52% less than white men. Gender and ethnic pay gaps are stark indicators of the systemic inequalities in the industry. The WEC report highlights one way in which intersectionality could be tackled head-on: by activating section 14 of the Equality Act, which “provides for protection from discrimination because of a combination of two characteristics”, but has never been brought into force.
WEC’s recommendation that organisations with more than 100 employees should be required to publish data on the diversity of their workforce and gender and ethnicity pay gaps is a good start to achieving transparency in pay structure and equal pay for equal work. However, Black Lives in Music would like to see the threshold be 50 employees or more, to ensure a fair and equitable environment for all.
The music industry must also collaborate with the Creative Industries Independent Standards Authority (CIISA) to address bullying, harassment and discrimination effectively. It is not enough to identify the problems; we must also be part of creating and enforcing the solutions. CIISA is part of the solution.
Our work at Black Lives in Music and the WEC report are catalysts for change. We are not just outlining problems, but are creating blueprints for a fairer and more inclusive music industry. WEC has said there is an expectation for the music industry to act on the recommendations of this report. We need industry-wide commitment to change – from record labels to individual artists, from orchestras to music festivals to grassroots movements. Only through collective action can we ensure that the music industry becomes a space where everyone, regardless of their background, can flourish.
It’s incredibly empowering to know that the voices of those who’ve faced discrimination, bullying and harassment have been heard in the WEC report. The numerous calls that we receive each week at Black Lives in Music testify to these continuing issues. I am deeply thankful to those brave souls who shared their stories with us, stories that have now laid the basis for real change. Their courage in speaking out is a powerful testament to the resilience and determination needed to forge a fairer and safe music industry.
Charisse Beaumont is chief executive of Black Lives in Music
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