There are thousands of amazing women working in the Australian music industry who are equally as respected as their male counterparts. However music has been dominated by men for a long time. We only need to look at the ‘greatest albums of all time’ polls to be reminded of this. Are women in music under the radar? Mary Mihelakos probes the issue with some of the participants in a recent forum on women in the music industry.

Amanda Jackes is the General Manager of the Queensland Folk Federation and Deputy Director of the Woodford Folk Festival. Amanda has been working in the arts industry for 24 years. Jackes manages 25 full-time staff, 60 casuals and over 3,000 volunteers within her organisation. “I cannot speak for the whole industry,” she says. “In my work (festival management) the field is dominated by women who show great aptitude for organisational roles and problem solving. I think there are more progressive organisations about these days, particularly in the arts, who value their people more regardless of gender, race or creed.”

Julia Wilson has a background working for record companies and now runs her own Rice Is Nice label (home to Richard In Your Mind, SPOD and Seja) and is co-founder of Borden Management. “You can see that there are boys clubs in all areas, but I don't feel like that creates an uneven playing field,” Wilson says. “I think, even with cliques, if you are good at your job, you are good at your job and that is what is going to take you places. Confidence has a lot to do with it and being clear on your direction. I think there are many women and men doing great things. I can see many women going from strength to strength and achieving a lot. I think this industry is a great one for women and that it is being noted.”

Maggie Collins has always been passionate about music. Collins started out as a volunteer at 4ZzZ at age 18, then went on to become the station's music director while managing local acts and working at an independent record store. Her strong work ethic has paid off and Maggie is now working full time as an artist manager looking after the John Steel Singers and DZ, and is a casual presenter with national broadcaster Triple J.
“In terms of being a woman in the music scene, I do not feel left behind at all,” Collins insists. “I think that it's important to encourage other young women to pursue this career path, as it is achievable. Some young women may feel overwhelmed by the ferocious image of the cut-throat music biz in popular culture, but I'd like to send a message that it's not going to eat you up. Your confidence will grow, as long as you get in there, give it your best, respect others and work hard.”

Samantha Clode has been working as a music journalist since the mid 1990s, from editor of Juice Magazine and Triple J Mag's music editor to freelancing on publicity teams for the Big Day Out and other festivals. Clode is highly respected in her field, yet she's had her share of men exert their power in work situations.
“One the most trivial things is when people call up and say, 'I'm from xx, can I please speak to the editor - is he in?' … Assuming, of course, that any music magazine editor would naturally be a man. Drives me insane.”
Clode is hardly perturbed but says it isn't always a level playing field.
“I've never seen a female journo courted by a label to take on a job, but witnessed that several times with fellas. There's definitely an ol' boys club style camaraderie which women are uneasy about and excluded from. Trying to finish a six-figure festival performance contract is hard when your boss won't let you deal direct with a bigwig agent 'cause they're too busy making penis size jokes with each other and in general slapping each other on the back - that's annoying.
“I've had countless conversations over the years with women who work with some of the country's biggest promoters and labels etc, and their frustration at how much work they do for their male bosses - and how much recognition they get in return - is a constant source of frustration.”
Despite this, Clode is fairly optimistic about what the future holds for women.
“In the time I've worked in the industry there's been progressions. Music now celebrates female artists more than ever. Overall it's a great industry for women to work in. But there'll always be a glass ceiling to break through as long as women are earning less than men, and have to deal with workplace issues like being retrenched when they're about to take maternity leave etc.”

Kellie Lloyd has been part of Australia's music community for over 20 years. Initially as a musician, playing bass in Screamfeeder and inspiring other women to pick up instruments. Lloyd works as a project officer for Q Music and is actively involved in nurturing the Brisbane music scene.
“I don't want to get into a discussion about feminist issues, the issue I'm thinking about is how young women learn and participate differently than young men. We hope to give some young women a chance to learn some skills and meet some other amazing women who work in the industry in an environment that supports this difference.”

There are plenty of women working in middle management roles today, especially where organisational skills are required. There are nowhere near as many women in the top CEO-style positions, A&R, booking agents or working in technical areas within the industry such as tour production and sound engineering. There are still a lot fewer female musicians on stage than males, although these numbers are climbing in favour of the ladies all the time.

Today there is a lot more education and training available to people wanting to work in the music business. The playing field is a little more level for women, but there are still challenges ahead.

The Women in Music forum was held on Wednesday March 8 at Brisbane’s Judith Wright Centre of Contemporary Arts to coincide with the 100th anniversary of International Women's Day.