Equal pay has been named the top accelerator for gender equality by women working in the international live music business.

With International Women’s Day taking place tomorrow (8 March) under the theme of Accelerate Action, IQ asked executives to name one thing that would make the industry a more equitable environment for women.

“To create a more equitable industry for women, equal pay is essential—without it, there is little incentive to stay or advance,” says Jana Posth, festival director of Rock am Ring in Germany.

Rauha Kyyrö, FKP Scorpio’s co-president of touring & artist development, reiterated the sentiment, adding: “Regardless of an employee’s gender, the industry should pay equal wages.”

But as many executives pointed out, transparency around salaries is the first step to eradicating the gender pay gap. Wasserman Music’s Flo Noseda says that this should start early in the process, when companies are advertising a position.

“Let’s see who’s really delivering progress and who’s delivering rhetoric”

“[Adverts] that say “competitive” or “DOE” usually means “underpaid” and when there is no gauge at all it can waste people’s time and mean that people (especially women) can be underpaid from the offset,” she tells IQ.

One Finiix Live’s Jess Kinn would like the transparency to go a step further, with companies forced to publish everything from policies to promotions.

“I’d like to see a body with teeth – like the DCMS – survey the top 50 music companies in the UK with questions about how their gender equality policies are actually working in practice eg: What proportion of your promotions went to women in the last year? What proportion of your leadership team are women? What are you doing to encourage women into the industry? Make the results public, then we can really see who’s delivering progress and who’s delivering rhetoric.”

Having spent the majority of her career as “the only woman in certain rooms,” ASM Global’s Anna Sjölund has called for better representation in the boardroom.

“Women belong in all places where decisions are being made. It shouldn’t be that women are the exception,” she said, quoting Ruth Bader Ginsburg, the late American lawyer and fierce advocate for gender equality and women’s rights.

“Stop defining us by our gender e.g. a female agent”

“In our industry there are still plenty of rooms where the women are the exception and the ones that have the power to change that are the men in majority,” she continues. “If you never leave your seat – no one else gets the chance to fill it.”

Sam Oldham, venue director at The O2, agrees but warns companies that it’s not enough to just have token representation at the table. “Actively seek out diverse perspectives. Make a concerted effort to ensure all voices are heard and provide a safe space to do so, in which minorities feel comfortable coming forward with their views.”

As Ticketmaster’s Sarah Slater points out, the board room isn’t the only place that women’s voices and ideas should be heard and praised. “Hype women up—especially when they’re not in the room. Create space for their voices where they’re often overlooked. Amplify their work, share opportunities, and make sure they get the recognition they deserve. No gatekeeping—just lifting each other higher.”

CAA agent Beckie Sugden, meanwhile, is keen to remind the industry that colloquial language plays a key role in gender equality.

“Stop defining us by our gender e.g. a female agent etc,” she says. “I’ve never heard anyone say male agent before so why is this defining tag necessary for women? In my example I am an agent that happens to be a woman not a female agent! I have to check myself on this also as it so deeply entrenched in how we talk about ourselves and women in general. Until the language and narrative, we use daily changes nothing will change. The tags reinforce us as second class citizens on so many levels!”

“Pay us equally, respect our boundaries, and stop expecting us to do your admin!”

As Mojo’s Kim Bloem underscored in her Q&A, flexible hours and working conditions are crucial components for women juggling a career and motherhood.

Roundhouse’s Lucy Wood echoes this sentiment, adding: “I think it would be a great thing for organisations to adopt a policy of allowing parents to expense evening/night care costs, in my case this would be covering babysitting while I’m out at gigs, but could be for anyone with caring responsibilities more generally.”

LIVE’s Gaby Cartwright, meanwhile, says that raising awareness among individuals who do not menstruate or experience menopause is crucial to making the industry a more equitable environment.

“It’s important to highlight how menstruation and menopause can significantly impact both the day-to-day lives and professional experiences of individuals in the workplace, especially within the industry,” she tells IQ. “By fostering this understanding, we can create more supportive and inclusive environments that accommodate the needs of all employees.”

Put simply by Raven Twigg, ASM Global: “Pay us equally, respect our boundaries, and stop expecting us to do your admin!”

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Having worked her way up in the international live music business to the top position at Mojo in the Netherlands, no one better understands how to shatter the glass ceiling than Kim Bloem.

Over the course of her illustrious 25-year career, the Dutch stalwart has promoted shows with the likes of Beyoncé, Madonna, Rosalìa, P!NK, Drake and Olivia Rodrigo, worked in venues such as Ziggo Dome and AFAS Live, and programmed festivals including North Sea Jazz Festival.

As of January 2024, Bloem alongside Ruben Brouwer and Ronny Hooch Antink have been responsible for the management of Mojo, following the departure of former CEO John Mulder.

But as a woman and a mother, Bloem’s formidable career in the live music industry has been hard won. On the eve of International Women’s Day, she tells IQ how the next-generation of women business leaders could have a smoother ride to the C-suite.

Tell us a few issues the industry needs to address to become a better place for women?
First of all, I think during these last 20-25 years since I have started working, a LOT has changed already thanks to all the efforts of a lot of people. In the beginning of my career the industry was dominated by the men who have actually built this industry. So it was quite logical that amongst those men, the “old” habits such as making crude or offensive jokes or comments about others including women was ‘normal’. And those old habits were taught to the younger people coming up in those years, so the system maintained itself. And those comments and jokes emphasise unnecessarily the difference between men and women. Nowadays we should not accept that anymore, but it still happens and creates an unsafe space in some cases. The simple solution to it would be to not laugh about a joke somebody makes, but say, publicly and in a nice way, “Hey, we should not be saying that anymore, shouldn’t we,” and move on and make a better joke. And no mansplaining anymore…. PLEASE! Making the workspace a safe environment would add to the creativity and the productivity of actually everybody, men and women.

“Some people believe that internal competition is beneficial to the result, but I think the opposite”

You’re still among a minority of super senior women in the industry, what are the barriers to getting more women in the C-suite?
I think one of the main ones is when you are at a point to start a family. There are then choices to be made, or simply the choice is being made for you, and everything depends on the way you CAN and WANT to figure this out. I have been lucky to have a mom who wanted to babysit, now already for 15 years. My husband chose to not become a practicing musician, but loved working in a record store – and still does – but not full time. We discussed it together, and were in the lucky position to make the choice of how we did it.

Secondly you need to be offered the chances that I have been offered. And that is dependant on a mix of being at the right time and right place, how the company you work for is developing, whether other people see you as the next gen, or as internal competition. I have been very lucky to work with people at MOJO who have helped me stepping up. I worked hard, and they let me instead of stopping me. It was in their interest that I could grow within the company. Some people believe that internal competition is beneficial to the result, that people would work harder to earn the most, but I think the opposite. If you have a great example in your team, you want to get that approval, be as good as him or her, and together create a great result that contributes to the company, and not to you personally. And last but not least, you really have to work hard, very hard to get there and be ambitious, but in the right way. That’s not to be seen as a barrier, but people sometimes forget that this is the number one need.

“Provisions like flexible hours and working from home very much helped me when I became a parent”

As a woman and a mother, what provisions would have improved your experience of the industry?
Provisions like flexible hours and working from home very much helped me when I became a parent. I did have my babysitter at home (my mum), so I could work because with a baby at home you can’t really work, and that gave me a lot of rest. I could go to shows in the night, and unlike some friends did not have to be in the office at 9 am in the morning. When I was working at the North Sea Jazz festival, my parents would babysit nearby, come to the festival so I could breastfeed my son, and that three times during the day back and forth!

Did you have any female mentors that helped you progress in the industry?
I spoke a lot with my colleague and friend Nicoline de Kock at MOJO, who encouraged me from time to time to for instance ask what I deserve in both work, career development etc. We discussed difficult issues, we both knew exactly why we had to work harder being a woman in the industry in order to prove ourselves, but both did not mind.

You, Anna Sjölund and Kelly Chappell have maintained a strong friendship over the years. How important has it been to have a group of senior women to rely on?
I think it’s extremely important. Kelly, Anna and myself have had lengthy conversations of how we move around for instance inside the group of promoters, tour buyers, help each other, support each other, being a listening ear, and also introduce one another to other people in the network. Live Nation has been very supportive of women and acknowledged the importance of a diverse company. We have had inspiring days of sessions where all women could get in contact with senior women and vice versa. We were present in meetings, made ourselves known and contribute to discussions which should be an example to others as well.

“Every study (for any industry actually) shows the importance of the need of having a diverse and representative team”

Is there anything that you’re personally doing to support and encourage women in this industry?
I try to be an example, inspire them by asking questions about what they want to become and push them for grabbing the chances at the right time.

Why is it important for the live music industry to be diverse and representative?
I think every study (for any industry actually) shows the importance of the need of having a diverse and representative team. It simply is better for financial results, for making the workplace a better one that leads to a more (mental) healthier environment, less sick leaves, etc. This may sound like “my soft skills” (and I can see some people rolling their eyes) but if there are leaders leading by example and do the right thing, in the end the world will be a better place.

For the music industry specifically, I feel it’s of great importance as artists and the fans who relate to them, also have a role in leading by example. This means that we as promoters, agents, managers, tour managers, production managers, marketeers, ticketers, etc, act with respect to each other and listen to each other with only that same goal in mind, this reflects upon the fans and, again, the world as a whole. I know some artists focus on having a full female crew because that works better for them. I can imagine it does, but in my opinion ultimately it needs to be a 50-50 situation as that is how the world is turning, and only then there can be mutual respect. Don’t leave out men!

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Festival Republic has announced the relaunch of its development programme for female and gender-expansive artists, on International Women’s Day.

ReBalance, which initially launched in 2017, is a year-long initiative designed to address “challenges along the new music pipeline journey while providing crucial, tangible support to emerging talent,” organisers said in a press release.

The programme is designed to provide opportunities on both the stage and in the studio. Beneficiary acts will receive dedicated studio time, mentorship from industry leaders, a year-end showcase, and a guaranteed Festival Republic event performance in 2025.

“We’ll be investing in emerging artists, offering practical support at a pivotal stage in their careers”

Studio work will be “led and/or assisted by a woman or gender-expansive professional,” in an effort to both diversify the recording environment and provide opportunities for production professionals.

“We’ll be investing in emerging artists, offering practical support at a pivotal stage in their careers. This includes providing them with tools, connections and a commitment to a festival booking at one of our events,” says Melvin Benn, managing director of Festival Republic.

The six UK-based acts for this year’s class are Mary O’Donnell, Sprout, Bebeluna, samxemma, cruush and Red Ivory.

The relaunch of the initiative, which ran for three years before being paused due to the pandemic, comes during a period of heightened focus on misogyny in the UK music industry.

National lawmakers recently reported that the industry is a “boys’ club” with women facing intersectional barriers including racial discrimination.

“Women’s creative and career potential should not have limits placed upon it by ‘endemic’ misogyny which has persisted for far too long within the music industry,” says MP Caroline Nokes, Women and Equalities Committee chair.

Across 50 of Europe’s leading festivals last year, 90% of headlining performers were men, according to a study by IQ and ROSTR. Artists across the complete lineups also skewed male, with 35% of artists being female and 1% non-binary.

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To mark International Women’s Day, IQ catches up with senior event manager Allie Bishop and event manager Lily Tomkins, to find out more about their day-to-day in the (predominantly female) events management team for NEC Group’s Resorts World Arena and Utilita Arena Birmingham.

What does your day usually look like?
Allie Bishop: Every day is different! But generally, I make sure the wider event management team have the time, resources and training they need to be able to deliver successful events. I also have my own event workload, which involves getting as much information as possible out of a tour, then translating it into an event that will fit safely and successfully into our buildings. Day-to-day this requires a lot of liaison with different people and departments to ensure everyone is working to the same information and objectives. I tend to find myself getting involved in wider projects too, offering operational input into projects that improve our customer journey.

Lily Tomkins: My role is split between planning and utilising information and being the duty manager for shows during the open period. When advancing shows I receive details from the client which is disseminated to our internal arenas teams to ensure the show can be run successfully. As a duty manager you are responsible for the safety of the public during the show, helped very much by the security event manager and event safety representative.

“Following Covid, it’s taken a long time for workers to fully return to the industry, and with events coming in quickly there are still gaps in experience across the board”

How did you start working in the events industry and more specifically for the NEC Group?
AB: I joined the NEC Box Office straight from finishing university, selling tickets in the contact centre. That was 16 years ago! I spent around 10 years in various roles there, before moving over to the event management team around six years ago.

LT: I started in events by volunteering at local festivals and events. Whilst completing a master’s degree in live events at Birmingham City University, I made invaluable contacts during Event Week Live – the NEC Group’s work experience programme for degree-level students – and then as a member of its subsequent Elite mentoring programme, which led me to this role.

What aspect of your job do you most enjoy?
AB: I enjoy problem solving and coming up with different ways of doing things. We’re given great opportunities in our position to challenge the norm and come up with new ideas and solutions, which is very satisfying.

LT: I love the production side and seeing what goes on behind the scenes to put a show together.

What can be the most challenging aspect of your job?
AB: Following Covid, it’s taken a long time for workers to fully return to the industry, and with events coming in quickly there are still gaps in experience across the board, with people often juggling a lot more. Our role has become a lot more reactive as opposed to proactive, which for people who love to plan, can be difficult.

LT: I’ve not been in the role long so learning all aspects of the job has been quite challenging and finding my way around each arena! Also remembering everyone’s names…

“I think arenas have led the way when it comes to bringing on board new talent into operational roles, regardless of gender”

Is there a project or particularly rewarding moment you can highlight?
AB: It’s always rewarding to enjoy the ‘calm before the storm’ – usually a five-minute window between the show being built, but not yet being open to the public. It’s just a snapshot view of the work you’ve put in over the last few months to get it to where it is.

LT: I found the first event I planned and managed last August most rewarding as it felt like a rite of passage into the team!

What is your favourite thing about working in a team of women?
AB: We’re a tight-knit team that always looks out for each other. If someone has had a rough day on a show or with their workload, there will always be someone who will offer to help in whatever way they can.

LT: The team are very supportive of each other as we all know how demanding the role can be, so we all look out for each other.

Do you feel there is a gender imbalance across the live events industry as a whole and if so, do you think enough is being done to address it?
AB: Looking out on the arena floor at 6am for a load in, often you’re one of a handful of women who make up the 100-plus people there to get the show built. It isn’t always the case though, and there are certainly more female reps, touring personnel and security than there were a few years ago. I think arenas have led the way when it comes to bringing on board new talent into operational roles, regardless of gender.

LT: I have been fortunate that most of the teams I have worked in have been mostly female-led and I have never felt held back or discriminated against as a female in any of my roles. However, I have found that when you hit a more senior level within an organisation these roles can often be predominantly male-led. I do think more industries are acknowledging this now and making changes where possible.

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Netherlands’ Backstage Pass initiative has launched the #spotlightonher campaign for International Women’s Day to shine a light on female crew members.

Set up by award-winning tour manager Lotje Horvers in an effort to increase diversity and inclusion in the Dutch live sector, Backstage Pass is collaborating with a variety of platforms on the scheme.

Artists and venues are encouraged to post a video or photo of the women in their crew on their social media accounts, using the #spotlightonher hashtag.

“During the pandemic, while being unable to tour, I have been keeping busy with a variety of things, including mentoring young women looking to break into touring and learning more about diversity and inclusion,” explains Horvers, who has worked with artists such as Robyn, Fever Ray, Röyksopp and The Knife.

“The campaign is meant for artists, suppliers, venues and festivals to use their socials to put the women on their tech crew in the spotlight”

“One of the things I did was set up a not-for-profit in the Netherlands, Backstage Pass. We are launching an international Women’s Day campaign in collaboration with Soundgirls, Women in Live Music, She is the Music, Diversify the Stage and many other platforms.

“Basically, the campaign is meant for artists, suppliers, venues and festivals to use their socials to put the women on their tech crew in the spotlight, with the goal of reaching other girls and inspiring them for their future careers. ”

The campaign mission statement is as follows: “Representation and visibility are an important step towards diversity and inclusion. To inspire, encourage and empower girls to find and follow their dream of working in live music, we invite artists to introduce the women in their (stage) crew on their socials for International Women’s Day on 8 March. After all, ‘You can’t be what you can’t see!'”

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On International Women’s Day, the UK’s Musicians’ Union (MU) has confirmed that Naomi Pohl has been elected as the first female general secretary in its history.

Pohl has worked full-time for the MU – the leading organisation for musicians in the UK – since 2009, spending the past three years as deputy general secretary. Previously, she served as the Union’s national organiser for recording and broadcasting.

Pohl, who succeeds Horace Trubridge in the role, will be responsible for the administration of the MU’s affairs nationwide in partnership with the MU’s elected executive committee.

“I am delighted and humbled to have been elected to the role of MU general secretary,” she says. “It means a great deal that musicians across genres and disciplines have put their faith in me and I want nothing more than to deliver for them all.

“Thank you to all members who engaged with the election process, took the time to vote and who reached out to me directly with feedback about the Union. I also want to acknowledge our fantastic activists, staff and officials; I couldn’t hope to work with a more dedicated and passionate team of people.

“To all those who didn’t vote for me, I hear that you want change. The Union is here for every musician, and I hope it can be a unifying force as we take on many challenges collectively – please reach out.”

After the toughest imaginable two years for musicians, there is plenty of work to do”

Prior to the MU, Pohl was assistant general secretary at the Writers’ Guild of Great Britain.

“After the toughest imaginable two years for musicians, there is plenty of work to do,” she adds. “We can improve pay for our employed and freelance members post-pandemic, tackle the impact of Brexit and fix streaming. We will also ensure we meet the objectives set out in the MU Equality Action Plan, in the UK Music Diversity Ten Point Plan, and we will continue our vital work to eliminate discrimination and harassment from the industry.

“In order to secure the future of the profession, we will also launch a new music education campaign and move arts funding back up the Union’s lobbying agenda during my term. I know these are issues that really matter to musicians.”

The general secretary position is the most senior post in the organisation, which was founded in 1893 and consists of more than 32,000 members. The electoral process consisted of a series of meetings in all six of the Union’s democratic regions and a comprehensive postal ballot of all members.

Trubridge, who served in the role from 2017-2022, adds: ‘It’s been an honour and a privilege to lead the Union for the last five years, ably assisted by Naomi and assistant general secretary Phil Kear.

“I have had the pleasure of promoting Naomi up through the ranks and I am delighted to hear that she has won the election to become the MU’s very first female general secretary.”

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Companies and associations from across the live music business have celebrated International Women’s Day (8 March) by paying tribute to inspiring female staff members, executives, performers and role models.

Established in the early 20th century, International Women’s Day (IWD) is held annually to commemorate the achievements of women, as well as to draw attention to ongoing issues around gender equality and women’s rights. Among the live music organisations participating in IWD 2021 are LIVE, the new umbrella organisation for the UK live music industry, which ran the #LIVEtogether campaign on social media, spotlighting female members of its constituent associations.

The LIVE (Live music Industry Venues and Entertainment) profiles included members of including the Concert Promoters Association, Association of Independent Festivals, Music Managers Forum, Production Services Association and more.

Celebrating #IWD2021, meet these talented members of @AIF_UK in their own words here https://t.co/cPlVsRVuJQ #ChoosetoChallenge #LIVEtogether pic.twitter.com/3BqKSj3gei

— LIVE (@LiveMusic_UK) March 8, 2021

Using the hashtag #WomenToTheFront, LIVE member Music Venue Trust and its members will, throughout the week, highlight the work of women “who are vital to the grassroots music community”.

Music Venue Trust (MVT)’s head of events, projects and communications, Sarah Claudine, explains: “It’s incredibly important to Music Venue Trust to be using International Women’s Day 2021 as an opportunity to celebrate the women who play such an important role in the UK’s grassroots music industry. We are very proud to have so many remarkable women contribute to MVT, from our core team and coordinators to our board of trustees and patrons, and know that this diversity is reflective of the changing face of the wider live music community.”

MVT recently announced six new patrons, all women working in the music industry: rock duo Nova Twins, Welsh post-punk trio Adwaith, DJs Moxie and HAAi, singer-songwriter Kerri Watt, and booking agent Natasha Gregory (née Bent).

“From tour managers to merchandise sellers, venue owners to sound engineers, and members of my own band, I’ve experienced first hand the heart and soul that the women in our industry put in to live music,” says Watt. “I see my colleagues as role models, giving younger women the confidence to get more involved in live music and work within an industry they’re really passionate about.”

“It’s incredibly important … to be using IWD 2021 as an opportunity to celebrate the women who play such an important role in the grassroots music industry”

Similarly running content throughout the week is Liverpool Sound City, which is hosting a slate of IWD-themed programming both on its Facebook page and its dedicated Guesthouse streaming platform.

Today it streamed a Keychange-presented showcase featuring emerging female artists on Guesthouse, while a Keychange conference co-hosted by the Sound City Facebook page included panels on the gender gap and equality initiatives and a keynote interview with Keychange ambassador Kate Nash. More content is planned through Friday.

Sound City MD Rebecca Ayres says: “International Women’s Day is an important day in the calendar in terms of both lifting women into the spotlight and promoting awareness around the gender inequality that still exists in the music industry.

“But the fight for greater equality needs to be constant and, indeed, for Sound City, the commitments we have made as the lead UK Keychange festival are year-round commitments, with gender equality being a key aspect of our festivals, conferences and training. We look forward to celebrating women in music on International Women’s Day and beyond.”

“We need more women executives and female artists on our rosters”

Live Nation France chose to recognise its female staff with a special video, titled Les Femmes de Live Nation, which premiered on Instagram TV, while its UK sister company worked with Swedish singer-songwriter Zara Larsson on a free IWD live stream premiering at 7pm GMT:

At West End theatre operator LW Theatres, a special feature, ’West End Women’, shines a light “on some of the stars who run the show”.

The company, which operates celebrated concert venue the London Palladium, also revealed it has changed the traditionally masculine titles of its production jobs to gender-neutral equivalents, with master carpenter becoming head of stage engineering and dayman ‘first grade electrician’:

Did you know we’ve changed our tech-based jobs from traditionally masculine titles to be gender neutral?

Chief Electrician is Head of Electrics, Head of Stage Engineering takes over from Master Carpenter and Dayman is now First Grade Electrician. #InternationalWomensDay pic.twitter.com/Wj37pfYqeb

— LW Theatres (@LWTheatres) March 8, 2021

For Australia’s Mushroom Group, IWD provided the perfect opportunity for the women of the company to pay tribute to its late founder, Michael Gudinski, who was known as an advocate for women in live music.

“I did the first Australian Go-Gos and Bangles tours in the ’80s. That’s when I realised that, on the road, the girls were no different to the boys,” he recalled last year. “It further encouraged my belief that we need more women executives and female artists on our rosters.”

“He just gave women a go,” remembers Australian broadcaster Jane Gazzo. “Everyone says they have a Michael Gudinski story because he had time for all of us,” she told ABC Radio. “We’ve all had a piece of our heart ripped out this week.”

#InternationalWomensDay #IWD2021 pic.twitter.com/W4VU86sQJW

— Mushroom (@MushroomGroup) March 8, 2021

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It feels odd to me that more women aren’t involved in an industry as interesting and challenging as construction – according to official statistics, women only account for 12.5% of the UK industry today.

This isn’t just a man’s job and, although I haven’t encountered any major obstacles during my career because I am a woman, there’s clearly something going on if construction is still so dominated by men.

So, after the first International Women’s Day of this decade, I think it’s important that we encourage the young women of today to become the future of this important industry and take advantage of the career-defining opportunities available to them.

I’ve led teams delivering some of this country’s most iconic projects, including the O2 Arena and the new Wembley Stadium. And today, in my role as executive vice-president of development and construction at The Madison Square Garden Company, I have the extraordinary opportunity to deliver state-of-the-art venues that represents the future of live entertainment: MSG Sphere.

We are currently building MSG Sphere in Las Vegas, and we’ve also announced plans to build a second MSG Sphere in London, pending planning consent and other approvals.

As a leader in the construction industry, it’s exciting to take on the challenge of transforming a disused and unloved former coach park in east London into a state-of-the-art venue, bringing jobs and investment to Newham and to the country.

I feel strongly that the key to getting more women into our sector is to show them what’s possible

It’s perhaps a happy coincidence that the Women into Construction project was developed on the Olympic Park, just yards from the MSG Sphere site in Stratford, to address the gender imbalance in construction. It was originally created as part of the legacy of the 2012 Olympics with the aim of increasing the number of women working in construction on the Olympic Park and creating a trickle-down effect throughout the industry.

I’d like to think that a project as exciting as MSG Sphere could be just as inspiring and encourage young women who are thinking about their future careers to consider development, construction, engineering, architecture and environmental sustainability – just some of the many job opportunities that MSG Sphere would create.

I feel strongly that the key to getting more women into our sector is to show them what’s possible. That’s one of the reasons MSG is so focused on working with schools, colleges and youth groups in east London: to give today’s students a taster of the sort of work they could do at MSG Sphere in the future.

And I am proud to continually champion the many exceptional women I work with at The Madison Square Garden Company, where so many of our senior management team are female.

It is odd that only 12.5% of the construction industry is female. I believe this is largely the result of an erroneous perception that the industry is not as open to women rather than the reality.

That said, if there are barriers to women joining this profession, then we need to remove them, and I would encourage the current and future leaders in the construction industry to lean in and do this together by example, by encouragement and – most importantly – by deed.

Jayne McGivern is executive vice-president, development and construction, for The Madison Square Garden Company.

LittleBrazil’s Time For Fun (T4F), the largest live entertainment company in South America, is launching GRLS!, a new two-day festival celebrating the role of women in music.

Kylie Minogue and Little Mix are heading up the event’s all-female line-up, which also features US rapper Tierra Whack and Brazilian acts Linn da Quebrada, Gaby Amarantos and Mulamba.

Curated by Brazilian music platform Popload, GRLS! is taking place on 7 and 8 March – International Women’s Day – at the Latin American Memorial in São Paulo.

Talks, lectures and workshops focusing on the role of women in culture will also form part of the event’s programming.

“Our main goal was to design a festival made by women and non-binaries, that would also lead to an all-gender debate about the role and representation of women in our culture”

“Our main goal was to design a festival made by women and non-binaries, that would also lead to an all-gender debate about the role and representation of women in our culture,” explains Paola Wescher, T4F artistic director and Popload partner.

“Women always have to try harder, impose themselves more and achieve more to be respected. We have many strong women in all sectors of the music industry, both on stage and behind the scenes, making everything happen. We want to amplify these voices and be a milestone in this regard.”

More information can be found here.

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Festival Republic has announced ReBalance Celebrates International Women’s Day, a networking event for women across the live music industry, as part of the promoter’s gender equality programme, ReBalance.

The event is taking place at the 900-capacity Union Chapel in Islington, London, on Sunday 8 March, the day dedicated to recognising the movement for women’s rights worldwide.

Last year’s International Women’s Day saw pop star Dua Lipa speak at the International Live Music Conference (ILMC) in London, who illustrated the struggle faced by young female artists trying to break into the industry.

Festival Republic is looking to combat this, with a daytime programme aimed at introducing those who want a career in the industry to women working within it. Professionals from Festival Republic, Live Nation, PRS Foundation, Academy Music Group, Sony Music, MAMA, Melody VR, Metropolis Music, the BBC, National Merchandise and Safe Gigs for Women will be in present to offer advice and deliver educational talks.

An evening performance from singer Nilüfer Yanya will follow the networking event, as well as appearances from Martha Hill and Tamzene, two artists to have come through Festival Republic’s ReBalance programme.

“We are incredibly proud of what ReBalance has achieved, so it only made sense to take the scheme further”

Launched in 2017, ReBalance is a six-year programme combatting the gender imbalance within the music industry. It offers five day’s studio time to one core female-identified band and artist each month, as well as a slot of a Festival Republic or Live Nation festival.

So far, 300 nominations have been made across six rounds, with 19 finalists performing live at The Great Escape, Wireless, Latitude and Reading and Leeds Festivals.

“We are incredibly proud of what ReBalance has achieved, so it only made sense to take the scheme further by hosting an event on International Women’s Day for those who want to meet women in the industry,” says the ReBalance team.

“Aimed at newcomers or if you’re just curious, this event is the chance to learn from the brightest stars and pick up some tips. Lack of female representation in music is an industry-wide issue, and we want to level it.”

Day tickets for ReBalance Celebrates International Women’s Day can be purchased for a £2 charity donation to Safe Gigs for Women, with evening tickets priced at £17.50. All tickets are available here.

Photo: Paul Hudson/Flickr (cropped) (CC BY 2.0)

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