Working in the Traditional Music World as a Female Musician
by Ellie McLaren
There are certain aspects of the music industry which are more female-led, such as PR, and others which are more balanced, such as accounting and admin, marketing and legal. However, there are some areas which still have a long way to go to achieve a balance, for example, in studio settings - only 2.6% of the world’s music producers identify as female.
Thankfully, we are at a point in time as a society where this is slowly starting to change - for example, around half of PRS’ traditional music songwriters members in Scotland are female, which is more than other genres. Additionally, in our sector, we are seeing more all-female bands emerging and proving that they are just as good as the all-male bands. There are more female and female-identifying individuals who are becoming sound engineers, again, proving that they are just as good as men. This needs to continue, to create a fully balanced scene and a sense of respect too.
There is a definite divide which is deeply rooted in the music industry and not only in the trad scene. Being treated differently at a gig because of gender, being expected to play certain instruments or sing particular songs, being expected to not do the heavy lifting of equipment, not to wear certain things when performing, the list goes on and on.
There is also an element of tokenism – a lot of traditional bands are all-male or dominated by male musicians. As a result, are female acts being booked at festivals such as TRNSMT, Belladrum or Oban Live, to make up the extra 10% in a 90% male line-up? Are bands inviting female musicians to perform with them so that they aren’t viewed as sexist, rather than for her talent? There are so many more questions. However, these discussions are becoming more common, but the music industry as a whole has a long way to go before these questions are no longer asked.
In more recent years, it has become apparent that the traditional music scene is not as safe a community as we would hope. However, organisations such as The BIT Collective – “a community of people interested in discussing and addressing equalities issues in Scottish folk and traditional music.”, are doing a brilliant job at provoking conversations regarding equality and diversity. They have run numerous events, workshops, discussions and concerts as well as currently having projects #TradStandsWithHer and Safe Space Folk.
These projects are helping to support women in the traditional music industry who have experienced some sort of sexual abuse, harassment or assault by men in the folk scene. By creating a safe environment for women to come forward and talk about their experiences, The BIT Collective is already drastically changing the way we enjoy traditional music by helping others feel safer.
As I come to the end of my studies at university, and with Covid-19 playing its part in throwing us around, making a start in the traditional music industry is becoming more daunting. I have accepted that my best bet will be to have a ‘portfolio career’ – doing a bit of everything to get by. It is hugely inspirational to see all-female bands like Kinnaris Quintet and Heisk, to name a couple, as well as award-winning artists such as Julie Fowlis, Rachel Newton, Jenn Butterworth and many more. When listening to bands and musicians like these, it is easy to forget how difficult it can be as a female musician in the traditional music sector, purely because they are so inspiring.
Hopefully, if more women emerge, to close the divide in the trad scene, we won’t be treated differently. Additionally, there are more and more women in positions of planning, marketing, booking and agencies which used to be viewed as men’s jobs.
Caroline MacLennan who runs Heb-Celt, Lisa Whytock who is Scotland’s leading booking agent, and runs Showcase Scotland and The Visit, and Jane-Ann Purdy who manages several traditional acts and now co-runs the Trad Awards. These are just a few women who are so inspiring for those who want to be involved with the traditional music scene, but not necessarily performing, and show that these jobs are no longer carried out by just men.
Historically, women would sing in their homes, sing to their children and sing working songs. The academic field of studying music was a man’s game. Nowadays, thankfully, this is changing as more and more women are studying all aspects of music and pursuing them as a professional career. This gives those younger performers, students and graduates the hope to follow their own paths into the professional music industry, without having to worry so much about it being a man’s world. Finally, with the sector slowly becoming safer, there will be nothing stopping women from following their career paths in traditional music in Scotland.