It only took fifteen minutes at the American singer Beyoncé to sell, Friday, February 3, all of the places for her two French spring concerts, at the Stade de France in Saint-Denis and at the Marseille Vélodrome. A few days earlier, his compatriot Madonna filled four evenings at the Accor Arena in Paris, also in a time – and at prices – record, with the certainty that she could have added a few more so much the demand is strong to attend the next tour of the Material Girl.
On the French artists side, Mylène Farmer, Clara Luciani, Aya Nakamura or Juliette Armanet do not allow them to be coupled with concerts that are full in the biggest rooms or in stadiums. Proof if it was necessary that the singers and the musicians really have nothing to envy to their male colleagues when it comes to moving the crowds.
Obviously? Not really. Behind these notorious successes, abundantly commented on for some, reality is much less delightful for female artists. On stage, in the studio, on streaming platforms and more broadly throughout the music sector. This is what emerges from the study carried out for the first time by the National Center for Music (CNM) On” the presence of women in the musical sector ” , unveiled during the second assistance of gender equality in music organized in Marseille on February 9.
Among the most striking figures: women represent only 17 % of the 20,000 artists scheduled on stage in 2019, a reference date chosen for this edifying inventory. Against 62 % for men (the remaining 21 % corresponds to the “mixed” genre according to the terminology of the study). A gap that climbs again during the festival season. The female artists were indeed only 14 % to have presented themselves before the public during the demonstrations devoted to current music screened by the CNM that year …
rap, bad pupil
The rest is amendment. Singers, musicians and composites occur in smaller rooms – there are only 11 % of them singing or playing in front of more than 6,000 people – record less records, are less broadcast on the waves and streaming, are less present In playlists and represent only 40 % of the workforce in the sector.
Among the musical genres, again, the imbalances have hard skin. Rap is a bad student with only 5 % of the production sung by women. An under-representation with heavy consequences. This aesthetics indeed weighs 15 % of total production in France. It is mainly overrepresented on Spotify and the other online listening platforms acclaimed by young people. Dark record. “While the question of equality between genres in music is a topical subject for all actors in the sector, parity between women and men on stage as in the studio is not yet acquired “, can only conclude the CNM.
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