Music loves success but fails to invest in women

Every few months, the music world throws a celebratory party, declaring it the “year of women.” Taylor Swift, Beyoncé, Lady Gaga, Chappell Roan, and Sabrina Carpenter light up the headlines, marking massive achievements for female artists. It’s a heartening narrative, one that suggests the industry has finally figured out how to support women in music.

But behind the glittering headlines, this celebration feels wonderfully incomplete. While a handful of superstars command stadiums, thousands of equally talented women are still fighting for something far more fundamental: an equal shot at recognition.

The narrative of dominance often overshadows the systemic imbalances that persist beneath the surface. If we zoom out from the superstar success stories, a starker reality emerges regarding how music is actually made and distributed.

The statistics paint a complex picture. Across thirteen years of popular music, more than 93% of charting songs were created without a single woman producer. This imbalance extends deep into the creative process: in 2024, women accounted for only 18.9% of songwriters and just 5.9% of producers on the year-end Hot 100 chart.

The real inequities don’t often happen in the studio; they occur on the road. Touring—the engine that builds careers, cultivates audiences, and generates income—is where opportunity is truly forged. Yet, studies show a worrying trend: women accounted for only 21.6% of headlining slots across major music festivals in 2025. In fact, representation at major US festivals declined after years of progress, demonstrating that the systems around artists often create barriers rather than bridges.

For meaningful change, support needs to move beyond fleeting recognition and focus on tangible opportunities. Real support means facilitating women’s ability to perform, sell merchandise, release records, grow audiences, and connect with fans. It means booking women, paying women, and providing the tools necessary for them to thrive.

This is why some artists are taking the reins, building structures where the system has failed to provide them. The philosophy behind initiatives like Women That Rock is simple: if the existing structure isn’t creating enough opportunities for women and nonbinary artists, then we must build new ones ourselves.

This August, that philosophy takes center stage with a 5-city tour featuring two extraordinary independent artists, Abby Holliday and Charli Adams. They represent the caliber of musicians the industry desperately needs to invest in. The tour will stop in New York City, Boston, D.C., Chicago, and Nashville, each show featuring a local femme opening artist hand-selected by the co-headliners.

Holliday, a compelling songwriter known for her honest, sonically creative work, has built a devoted following across genres. Adams is another respected voice, praised by outlets like NPR, Billboard, and The FADER, who has cultivated a catalog resonating with millions. Together, they embody the power of authenticity and community in building sustainable careers.

While these events won’t instantly fix systemic imbalances, they serve as powerful blueprints. They challenge the scarcity mindset that women artists have long been expected to accept, pushing the industry toward a future where opportunities—and equitable investment—are not just token gestures, but the standard.

Women That Rock Summer 2026 Tour Dates

• August 7 — Washington, D.C. @ Songbyrd Music House
• August 8 — New York City, NY @ The Sultan Room
• August 9 — Boston, MA @ The Rockwell
• August 12 — Chicago, IL @ Schubas Tavern
• August 15 — Nashville, TN @ The Basement East