The Misogyny In Music report, published in January 2024 by the Women And Equalities Committee, was the first major report into the working conditions of women and girls working across the UK music sector.
The scope of the report, which I contributed to, was ambitious. It covered performers, songwriters, audio engineers, major music companies and institutions and both classical and popular music education. The report revealed the level of inequality across the music supply chain and the sexism, misogyny, bullying and sexual abuse that women and girls experienced in their working lives.
As part of the report, back in September 2023, the BBC broadcaster DJ and author Annie Macmanus (better known as Annie Mac) gave evidence to the House of Commons committee, calling the music business a “boys’ club” that is “rigged against women”.
The report was widely heralded as a turning point. Finally, the boys’ club of the music industry was laid bare. But on Friday, April 19, the government issued its response to the report’s recommendations – a wholesale rejection.
This article is part of our State of the Arts series. These articles tackle the challenges of the arts and heritage industry – and celebrate the wins, too.
With the publication of the report and its recommendations, it seemed for a moment as if women’s needs might be being addressed given the cross-party support the committee had garnered.
The recommendations called for legislative change to increase protection for women in several different areas: from amending the Equalities Act to provide freelancers the same rights as employees, to prohibiting the use of nondisclosure agreements “in cases involving … sexual abuse, sexual harassment or sexual misconduct”.
The government argues that there are already legal safeguards in place that make nondisclosure agreements unenforceable if they are used in order to protect perpetrators.
Other recommendations include: reform of parental leave to include freelancers, that public funding and licensing of music venues should be made conditional on those premises taking steps to tackle gender bias, sexual harassment and abuse. In terms of education, the report recommends investment in training for women in areas such as audio engineering where the gender imbalance is particularly acute. The report further recommends education for school children and specifically boys “on issues of misogyny, sexual harassment and gender-based violence”.
So why did the government reject the recommendations?
Annie Mac | Radio 1’s Free Party at Ushuaia Ibiza Beach Hotel by radio1interactive
The government’s response
The government’s argument was that there is no need for additional action, because action is already in play. It said: “This response has set out the many initiatives that the government is taking forward or the policies that are currently in place to provide legal protections for women in the workforce, including in the music industry.”
The response from women and commentators across the music industry has been one of great disappointment and almost disbelief.
“It’s incredibly disheartening to hear the government deny the reality of the endemic misogyny and discrimination that women face in the UK music industry”, said Nadia Khan, the founder of the charity Women in CTRL.
But should we be surprised by this government’s response? As a woman and a mother who has been working in the UK music industry for over 30 years I can say from personal experience it’s been – at best – frustrating and exhausting.
How the industry treats women
Sexism and misogyny are a daily occurrence in the industry. In 1993, I became the first woman to be appointed as an artists and repertoire manager (A&R) at Mercury Records UK. A&R is one of the most prestigious roles in any record label.
On my first day, all the men – even the ones I knew – stared silently through their office blinds as I walked into my office. Not one came out to greet me. I felt I was not considered one of them. Now there are women working in music companies in all kinds of positions from A&R to heads of departments, but they are still not treated as equal to men, as the report clearly found.
I have now been teaching in a music department of a university for nearly two decades. I have seen how slow the process of change is and how resistant institutions can be to change.
Those who contributed to the report are disappointed that the government has rejected its recommendations. Photo by Marlene Leppänen
When I started teaching, just as when I started out as a music manager and independent record label owner, I was surrounded by men. As a woman in the industry, you become accustomed to coping; managing either by being invisible and unheard or deflecting unwanted advances and patronising comments with humour and a smile. Sometimes you just lose your temper, and sometimes you make a quick getaway.
In 2016 I became a researcher focusing on the impact of inequalities on mental health and the working conditions of the music industries. My co-author and researcher George Musgrave and I published our research in two reports for the charity Help Musicians UK, and a book entitled Can Music Make You Sick? Measuring the Price of Musical Ambition (2020). In it, we examined the relationship between poor working conditions and bad mental health.
We were honoured to contribute to the Misogyny In Music report. We, like everybody else that contributed, were hoping that the data would count and that legislative action for change would follow. The government response is disappointing, to say the least. Are we surprised? No. But we will we keep on fighting.
For some people, music is a healing power, for some it is entertainment, and for others it is a life saving shelter. For Lisa Marie Simmons, music plays a role that encompasses all of the above. After a difficult childhood Simmons found solace in music and poetry which eventually led her on a path of art and exploration around the world. She finally settled in Italy where she leads two different ensembles , Hippe Tendencies and NoteSpeak, along with producer and songwriter Marco Cremaschini.
Simmons and Cremaschini released NoteSpeak 12 back in February, an eclectic mix of jazz, hip-hop beats, fusion and spoken word that grooves seamlessly throughout. Simmons’ work is always socially conscious she told me via email. Samia from their first NoteSpeak album was inspired by a documentary Simmons saw about the sad story of Samia Yusuf Omar. Simmons found the author of the book that the documentary was based on: Don’t Tell Me You’re Afraid by Giuseppe Catozzella. Simmons wanted to shine a light on the horrendous numbers of refugees lost to the sea every year, an end to life that she, if not for the luck of a birthplace, might have had to endure herself. Simmons went further in her research for the song and eventually made contact with Samia’s sister, who did make it across the Mediterranean, who gave her blessing for Simmons to share Samia’s story in song.
HK: What’s the backstory here?
LM: I grew up in the U.S., in Boulder, Colorado of the 70s and 80s – hippiedom and counterculture movements. Progressive yes in many ways, culturally diverse, not at all. I was adopted and raised by a Black father and a white mother and I found myself navigating the complexities of race and identity from a young age. My upbringing was marked by a blend of tension and creativity, as I sought refuge in words and music to escape the abuse in our household and the challenges of being a minority in a predominantly white community.
HK: Do you find yourself connected equally to both music and writing?
LM: Absolutely. Music and writing have always been intertwined in my life, serving as both a form of expression and activism. I’ve found solace and empowerment in both mediums. Whether through songs, essays, poems or stories, I strive to amplify marginalized voices and challenge societal norms.
HK: And perhaps an activist as well?
LM: Without a doubt. Activism is at the core of my identity and creative endeavors. I’ve been involved in various social movements throughout my life. My activism manifests through my art, as I use music and writing to advocate for change and do my best to inspire others to join the fight for justice.
My journey as a multi-disciplinary storyteller has been shaped by my experiences growing up as often the only Black person in the room. Through my art, I strive to challenge, among other issues, systemic racism, white supremacy and the patriarchy one song and one poem at a time.
HK: Have you always been concerned about the world around you, the politics of it all?
LM: Growing up in a predominantly white community, and the household I did, there was not much I could find that reflected me. In the town library, though, I found books by people like Alice Walker, James Baldwin and Maya Angelou that showed me another world and how the past informs the present; the institutional racism woven into the fabric of America from its inception. I was keenly aware of the injustices and inequalities that existed in my own home town which helped build empathy for those outside of my experience. I firmly believe that sharing our stories is the key to building compassion. From a young age, I found myself drawn to activism and social justice, whether it was participating in protests or in movements like streaking (Boulder in the 70s!).
Young Lisa Marie, painted by her adoptive mother (used with permission).
HK: Has your music always been a tool and a voice for the oppressed or the voiceless, or was there a switch at one point?
LM: Music in general has always been a powerful tool for expressing and reflecting the issues of today. From my earliest encounters with literature and music, I was drawn to works that spoke truth to power and shed light on social injustices. I have tried since I began writing and composing to amplify the voices of those whose stories are not in the mainstream’s consciousness. I often use my own intimate and personal experiences to speak to larger issues. From the moment I witnessed the power of protest and expression as a child, I knew that music would be my medium for challenging the status quo. While my approach to activism and advocacy has evolved over the years, my commitment to using stories as a medium for connection has remained steadfast. Whether through songs, essays or poetry, I continue to use my art as a platform for change and empowerment.
HK: Can you tell me a bit about the process of making NoteSpeak 12 and what you wanted to achieve with it?
LM: The making of NoteSpeak 12 was a journey filled with serendipitous encounters and creative synergy. My co-founder, Marco Cremaschini, and I met in Brescia in 2005 after several near misses of crossing paths over the years. Our collaboration began as a result of our shared passion for music, both of us drawn to the others’ artistry. After so many years of working with one another it was an organic evolution from our first band Hippie Tendencies to the NoteSpeak project. The first album was NoteSpeak (Amori e Tragedie In Musica), NoteSpeak 12 was the sophomore offering and we are currently working on the third in the trilogy. We are intent on making sure Marco’s compositions and my words complement each other seamlessly.
Our creative process is collaborative and dynamic. We exchange ideas, trade work, and continuously push each other to explore new territories. The songs on NoteSpeak 12 are a reflection of this shared vision, each with its own story and inspiration. Some songs started from poetry, while others began with the music. Some musical ideas were mine, some concepts for the poems were Marco’s but all were intricately woven together to form a cohesive and expressive whole.
Our goal with NoteSpeak is to create a body of work that transcends traditional boundaries of music and poetry. We wanted to blur the lines between spoken word and music, allowing each to complement and enhance the other. Through this fusion, we aimed to convey a range of emotions and experiences, from introspective reflection to impassioned protest.
With NoteSpeak 12, Marco and I sought to continue this tradition by using our art as a platform for social commentary and protest. Each song on the album carries themes of resilience and resistance, addressing issues ranging from immigration to environmentalism. Through our music and poetry, we strive to spark dialogue, inspire action, and give voice to those who may otherwise go unheard. Through our collaboration, we hope to challenge conventions, provoke thought, and ultimately, effect change.
HK:Musicians that sing about politics, animal rights, women‘s rights and raise awareness about different issues sometimes get backlash and are told to keep politics out of music. What is your take on the connection between music and activism in your opinion? Why can music be such a powerful tool for getting a message across?
LM: Speaking out politically is not just the artist’s right; it is imperative. In the course of shopping for a home for NoteSpeak (Amori e Tragedie In Musica), an A&R guy at a well-known indie label chastised me when I sent him the project, saying that, “It is not the musician’s job to be political.” I find it pretty much impossible to understand that stance. However, I know many musicians decline to perform for any political party for various reasons, chief among them not to risk alienating any fans who may be across the aisle. But to say that musicians should not voice an opinion on political issues makes me wonder what that A&R dude had been listening to. Famously, Bob Dylan refuses to endorse a political party, but c’mon now, the history of his oeuvre makes it very clear where he stands on a variety of issues. In today’s tumultuous political landscape, it’s more crucial than ever for artists to stand up and be heard, especially when faced with the cacophony of our world order’s rhetoric. I’m keenly aware that we are privileged in our birth countries, more so even by the fact that we can take the time to wrestle with such questions. Exceedingly lucky that we don’t suffer more pressing issues, such as having to take three hours out of our day to fetch water,fight for the right to an education, battle the suppression of free thought, or countless other obstacles. If the artist does not hold up a mirror to injustice we are missing an opportunity to effect positive change.
HK: Are you following other contemporary artists whom you‘d like to give a shout out to? Are you aware of other musicians, perhaps in your local scene or elsewhere, who use their talents in a similiar way as you? (I understand that you are in Italy at the moment, so you might have interesting perspectives on the music scenes there and in your native home?).
LM: So many. Esperanza Spalding, Aja Monet, Saul Williams, Ani DiFranco, Evan Greer, Angélique Kidjo, Buffy Sainte-Marie, Sarah Gee, and on and on and on. As for using their talents in a similiar way- there’s nothing new under the sun, except we are each our own little universe, our experiences form how we see and respond to what surrounds us, so each, if digging deep, is entirely unique. In Italy there’s a long history of musicians working for social change like DeAndrè, DeGregori, Gaber etc. Today there are voices from Afro Italians like writer, journalist, activist Igiaba Scego, whois a fiercely dedicated leader as is author, journalist, activist Cristina Ali Farah, another whom I deeply admire. Director, writer and actor Alfie Nze is making incredible films that inspire dialogue. Model and activist Bellamy has created the digital platform AfroItalian Souls celebrating AfroItalians while simultaneously providing a space to amplify black Italian voices. Afro-Italian queer immigration activist Medhin Paolos is a photographer, filmmaker, and musician whose current project in collaboration with Harvard University, “Mind the Gap” will have far-reaching effects as the heart of the work will be implemented in Italian classrooms. Activist Karima 2G makes music with a message. ARTivist Kwanza Musi Dos Santos is getting national attention with her non-profit work, as is interpreter, journalist, and activist Uche Bridget, and so many more, there are way too many marvels disguised as humans to list here. In my own little corner of Italia, I am awed by and honored to work with: Uno Collective, activist Francesca Sanneh is one of the collective’s intrepid leaders whose commitment and tireless energy to the cause inspires me daily – and Afrobrix. Musicians: Osasmuede Aigbe, Eva Fuedo Shoo, Daniela Savoldi, and Anna Bassy are talent and beauty personified while fighting the good fight.
HK:What musicians, authors or activists have inspired you in your life? What kind of extra curricular activism (outside your art) do you partake in, in one way or another?
LM: Again the list is endless. The usual luminaries Angela Davis, Alice Walker, Maya Angelou, Sonia Sanchez, Nina Simone, Audre Lorde, Mari Evans, James Baldwin, Toni Morrison, Nikki Giovanni, Billie Holiday, Marvin Gaye, Gil Scott-Heron and so many more. Coming of age in Boulder there were also the influences of Joan Baez, Woodie Guthrie, Bob Dylan and, again, so many more. As for extra curricular activism, I believe in living a life of conviction, and demonstrating one‘s ideals in every facet of the path we walk. You can find essays on my advocating for the rights of Black birth fathers, sharing stories on DAWTA the podcast with my co-host Dionne Draper to support the transracial adoptee community, writing about the racism in my adoptive mother’s family.
HK: What is on the horizon for you, musically and in life?
LM: At our artist residency at SUNY Oneonta in November we began writing the new NoteSpeak album in earnest and have begun full band rehearsals, now I’m hunting for the funds to head back into the studio to record it. Then we’ll tour it as widely as we can and perhaps I’ll then have more concentrated time to continue the work on my semi-autobiographical novel.
HK: Anything else you‘d like to shout from the rooftops?
The artist, who has defiantly performed in treacherous places despite threats from authorities, is making history with her all-female team behind the production of her new album.
“Nar” means fire in Arabic and that is exactly what Tunisian musician, songwriter and activist, Emel Mathlouthi, brings with her latest single. The following music video shows Emel encompassed by women; her colleagues, friends and fellow soldiers. “I am a soldier, I am a fighter, I am a bullet,” she sings in English and further covers topics of freedom and empowerment in the Tunisian language as well.
For the single, Emel teamed up with Mali’s first female Mandinka rapper, Ami Yerewolo, and speaking of the track she says that it’s “about taking back control of our lives, our story, our colour, our word. We’re building an army to take back women’s voices.“
After captivating her native audience in Tunisia she started performing around the world, at Montreux Jazz Festival in Switzerland and Glastonbury Festival in the UK. Additionally, and defiantly, she has performed on stages in Palestine and Iran which, according to this Vogue article, she describe as a “turning point” for her.
“Performing in Palestine last summer, which is so hard to get into, meant the world to me because you meet people who just want to live life like everybody else. They just want to go to a concert and be happy… Their resilience was inspiring. Despite everything they’ve been through, they really teach you about life. It marked a turning point for me.”
Emel’s new album, MRA, will drop later this month and based on the latest single we’re all in for a treat.
