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Last year, Kenya Grace started sharing her music production process on TikTok. Her combination of pop songwriting and dance instrumentals, performed from her bedroom with basic equipment, quickly gained a large following. The comments section was filled with requests for covers, collaborations, and official releases.
However, there were some viewers, typically male, who were not convinced and instead left sexist, patronizing, and mansplaining comments on her posts. She recounts receiving comments asking if someone else had created the tracks for her, frustratingly stating that it is clearly her doing. These microaggressions are just a few examples of the obstacles Grace has faced in her new career, from condescending colleagues during studio sessions to passive aggressive remarks at live performances. The stigma against women in production is still prevalent.
In addition to being featured in BBC’s Sound of 2024 poll, the highest accomplishment was achieved in October when the self-taught artist, vocalist, and composer achieved three consecutive weeks at the top of the charts with her irresistibly memorable drum’n’bass track, Strangers. The song remained in the Top 10 for an additional month. Reflecting on this pivotal moment in her career, she admits it still feels surreal. She also acknowledges that this success would not have been possible two decades ago.
The world of electronic music has a well-documented history of neglecting female artists. The majority of credits on popular dance tracks have been claimed by male producers, while women have often been relegated to providing anonymous vocals. According to a report released by the Jaguar Foundation in 2022, less than 1% of the dance music played on UK radio was created by either a female solo artist or an all-female band. Grace, who wrote, produced, and performed her own track, is only the second woman to top the UK chart with her solo work, and the first to do so in the realm of dance music since Kate Bush’s Running Up That Hill in 2022.
A new group of female producers is redefining the appearance and sound of dance music. Grace, PinkPantheress, and Becky Hill are all popular on the charts with their catchy, pop-inspired versions of drum’n’bass, garage, and EDM. Jazzy from Ireland reached No 3 on the charts and stayed for 31 weeks with her powerful, yet firm house track that she co-wrote. Hannah Laing from Scotland is gaining millions of streams for her self-produced, classic rave tracks. Pursuing a career in dance music, and most importantly, on their own terms, is now a feasible option.
“Us girlies are taking over!” says Venbee, who claims to have written a song a day since she was 10 – one of them, Messy in Heaven, became a Top 10 hit last year, prompting collaborations with chart regulars Rudimental and Chase & Status. “Women are putting their foot down,” she says. “They’re able to film themselves and [show] what they can do.”
Producer and vocalist Piri grew up writing songs and playing the guitar, but production wasn’t something she felt was possible for a girl. Her reference points for women in dance were a handful of well-known tracks from the 2000s and early 2010s, such as Sweet Female Attitude’s Flowers and Shy FX’s Gold Dust – both of which were, in fact, written and produced by men. It was only after seeing the rise of experimental electronic acts such as Yunè Pinku and Nia Archives that she started to reconsider. “It’s this domino effect of having more women to look up to,” she says.
In 2020, together with her future music collaborator Tommy Villiers, she started familiarizing herself with music software, influenced by the emerging group of female musicians around her. “Watching Tommy produce was definitely motivating, but seeing these talented individuals creating hardcore music, rather than just softer or traditionally ‘feminine’ music, made me realize that I too can achieve anything.”
The pair produced a series of homemade, computer-friendly catchy tunes that were influenced by garage, house, and hyperpop music. This helped them secure a contract before Piri pursued a solo path. However, despite having 1.3 million monthly listeners on Spotify, she still faces condescension. “Some people assume that Tommy is the one writing the music and I am only the vocalist,” she explains. “I believe many women are overlooked and seen as just a voice, without any contribution to the creative process.”
Piri has encountered gender-based inquiries about her knowledge of dance music and critiques on her fashion choices. Despite this, she reflects that her time in the music industry has been mostly favorable. “I believe I am fortunate to be in a duo with [Tommy] because having a male partner has likely shielded me from the mistreatment that solo female artists often face. It may be fortunate for me, but it should not have to be this way.”
Piri is actively advocating for greater diversity in the entertainment industry by promoting the inclusion of women, non-binary individuals, and members of the LGBTQ+ community in behind-the-scenes roles. They are committed to hiring an all-female, non-binary, and LGBTQ+ crew and are encouraging other artists to do the same. Piri acknowledges that the industry can often be a “boys club,” with men having the advantage of hiring their friends for positions. Therefore, Piri urges artists to use their power to choose their team wisely and prioritize diversity and inclusivity.
In addition to being more visible, the changing demographics in the dance music industry can also be attributed to the increased accessibility of resources that have helped democratize production. This includes online tutorials on platforms like YouTube and TikTok, as well as more affordable software options. Additionally, grants such as the PRS Foundation Women Make Music fund have also played a role. Some collectives, like Loud LDN, have utilized group chats and events to create support networks for emerging women and gender-nonconforming artists. Some of their members include up-and-coming pop-dance artists like Piri, Venbee, Issey Cross, and Charlotte Plank. Piri explains, “It can be daunting to have to rely on men for help. It’s comforting to know that as a community of marginalized individuals, we can come together and figure things out to achieve our goals.”
Grace believes that social media platforms, like TikTok, have played a crucial role in breaking down barriers in the dance music scene, including the use of complex equipment. She is happy to receive messages from people who have been inspired to purchase a beat pad because of her, as it highlights the impact of her online presence. With the availability of affordable gear, such as the equipment featured in Grace’s videos, bedroom producers now have the opportunity to pave their own path in the industry and reduce the influence of traditional gatekeepers. Grace points out that the music industry has undergone significant changes, using her own career as an example. She notes that the public now has a say in who they support through streaming and social media, creating opportunities for emerging artists. Overall, she finds this to be an exciting time for the industry.
Anz, a producer hailing from Manchester, believes that the recent shift in mainstream music has its origins in the underground scene. When she first started sharing her music online in 2015, she chose to conceal her identity out of fear of not being taken seriously. She also had to rely on her male friends to endorse her in order to perform at house parties. However, in the past ten years, various local underground communities have built their own support systems to empower and uplift women and marginalized genders through mentorship and training. Examples include Saffron Music in Bristol and All Hands on Deck in Manchester. Anz herself has also participated in this movement, stating that it would be rare to find a female producer who hasn’t led a workshop or taught in some capacity. This community also emphasizes the importance of paying it forward and supporting those who come after you, rather than pulling up the ladder behind you.
In these grassroots settings, many creators and singers – such as Anz, Sherelle, and another successful artist from the UK, Eliza Rose – have been empowered to thrive regardless of their gender. According to Anz, major record labels are finally catching on to the fact that there has been a surge of female creators and women who are making things happen for themselves, although there is a significant delay in their recognition. This delay is in stark contrast to how long the underground scene has been championing these individuals. While those in positions of power may be taking their time to address past inequalities, these hardworking individuals are determined to make things right.
Why now? Anz believes it could be due to a desire to profit from the product. This is supported by Piri, who has faced suspicion regarding her accomplishments: “She only succeeded because she’s a woman.” However, it’s important not to exaggerate the progress. In the previous year, only 14 women were featured in DJ Mag’s Top 100 DJs poll, with only three of them reaching the top 30. Additionally, there are still gender discrepancies in songwriting credits. Venbee adds, “Even now, when negotiating, women often have to assert themselves more to receive fair compensation.”
Anz explains that it is a lingering consequence of long-standing inequality. She notes, “Throughout history, there have been countless instances of individuals not receiving fair compensation or recognition for their work, and I believe that dance music is a prime example of this. Many have been overshadowed and marginalized, but we persist and it’s encouraging to finally be acknowledged.”
It is hopeful that there will be lasting change in the mainstream and major record labels, and that the current trend is not just a temporary fad, as Anz is concerned about. However, she remains positive that, regardless of the outcome, the generation of women will be recognized for their work because of its quality. Anz uses Kate Bush as an example of someone who persevered and is now being viewed in a new light many years later. This gives hope that eventually, someone will appreciate their work. And even if it is not seen in their lifetime, it will have been worth doing.
Source: theguardian.com
