PART 1: Assumptions
When I was a student journalist I really enjoyed writing about live bands, whether that was at the pub or live at a music venue. I especially had a passion for drawing attention to / writing features about the support acts, these were the ones who were the break out or up and coming ‘ones to watch.’ I remember waiting nervously backstage to interview the headline band that had just been on with my branded magazine t-shirts for marketing when I was greeted by a door person, who said
“hiya love are you insert lead singer’s name girlfriend?”
I felt embarrassed, I had been sent the press pass by a well known record label, press sticker on my jacket, Olympus Voice Recorder in pocket and clutching a camera.
PART 2 : Influences
The late 90s saw the likes of Fearne Cotton and Cat Deeley take centre stage alongside male presenters, who were iconic and hugely influential at the time and have continued solid careers well into 2026.
I noticed that in the early to mid 2000’s any female artists mentioned on programmes or radio I was engaged in were often hyper sexualised and not particularly ever listed as a headline act, especially not at the festivals I went to as a teen. It was hard not to start noticing a pattern of similar presenting styles next to or with a male counterpart, this became boring and I craved something stand out and fresh.
PART 3 : Historical norms
In present day I often see vintage enthusiasts glamourising Groupies with that famous saying ‘I’m with the band’ you see it printed on t-shirts in Camden, as well as sold on vintage style clothing sites. It’s a nod to the 1970’s Groupie culture. Where young women followed round famous singers or bands with the hope of meeting them.
A quick A.I analysis gave us this result-
- ‘Originally coined around 1965–1970, the term most commonly describes fans who travel with or wait around backstage for rock bands, pop stars, or musicians.’
- Intimacy & Association: Historically and colloquially, the word often carries a connotation—frequently associated with young female fans—of seeking personal, romantic, or sexual intimacy with band members, or trying to gain fame and proximity through association.’
This historical phenomenon may have well played a strong part in how the music industry saw and treated women at the time, especially those associated with successful musicians or those close to them even if it was because of their career.
PART 4 : Femininity
During the late 80’s Sinead O Connor shaved her hair off. This was rumoured to be for a multitude of reasons, but importantly for this point according to Edinburgh News ‘O’Connor first shaved her head in 1988, in order to send a message to music executives who wanted her to be more feminine.’
This was a rebellious act of feminism, if you said I need to look more feminine I’ll do the opposite, now in 2026 you see lots of women do this and I’ve been told it’s very empowering. We have to ask ourselves why?
Well the answer could be that women were controlled by record labels, management, pressures of public image and societal norms.
Part 5 : Women in music now.
What do all these things above have in common?
They highlight times where women who have been carving out careers in the music industry have faced interactions that may have altered perceptions, meaning they were not taken seriously or were downplayed or not given credibility as successful business women.
These women in the music industry deserve recognition for their success as well as involvement and should stand together!
