Coming Back Better
In 2018, Wireless Festival was forced (from public pressure, not their own will) to create an all-female stage to address the gender imbalance on their line-up. Flash forward to 2021 and 4/46 acts are female-identifying. Unfortunately this is not an anomaly: despite having a year to return to the drawing board, Reading & Leeds, Kendal Calling, Isle of Wight and TRNSMT to name a few have produced another disappointing year of painfully male-dominated lineups. For this reason, it’s initiatives like Come Back Better that give us the strength to push through.
Come Back Better is a brilliant collaboration set up by The Windmill in Brixton, in partnership with Dr. Martens to increase representation for marginalised genders in the music industry post-pandemic. Focusing on highlighting female, trans and non-binary identifying musicians, this two week programme invited members of the public to apply for a host of workshops, panels and creative collaboration opportunities, helping them break into the scene. Those identifying as a marginalised gender could apply to work with graphic designer Raissa Pardini, photographer Holly Whitaker or promoter Maddy O’Keefe, head down to The Windmill for a networking event with Vocal Girls Club or send in their demo to the venue for future gig slots AND the chance to open for Goat Girl’s gig in support of the initiative…
The evening began with a panel hosted by Vocal Girls Club - a music content platform championing new female and LGBTQ+ talent. Sharing their own insight surrounding unequal gender billings on festival lineups and the troubling common experience of sexual harassment in music venues (amongst other vital topics such as disability, racial and class inclusivity), the four members of post-punk group Goat Girl gave poignant and unfiltered advice for addressing and conquering sexism in the music industry. Discussing everything from back-handed compliments regarding musical ability, condescending offers to help carry heavy equipment, and the conditioned feeling that you have to constantly prove your skill to male counterparts were only a few of the subjects touched upon that are unfortunately quite relatable. Whilst of course immensely disheartening, this sharing of stories between audience and panel was met with humorous and inspiring words of wisdom, not to mention a shared sense of camaraderie to fight back with.
“If I don’t give a fuck what I wear in my room then why should I on stage? Do things that make you push you outside of your comfort zone!” Words to live by.
And then the LIVE MUSIC began. It’s an understatement to say that it was an honour for this to be my first gig back. Chosen by Goat Girl and The Windmill as the supporting act, Head Boy blew the audience away. Constituting the three-piece’s first ever gig, this wasn’t apparent at all - packed with witty lyrics, irresistible hooks and the raw energy of live music so sorely missed, Head Boy kicked the ball out of the park. Following the trio’s performance, Goat Girl took to the stage. Gracing the hallowed halls of the Windmill many a time, the opportunity to see a band who uses their platform to advocate for positive change in a venue known for its community and acceptance, was incredibly special. Playing a range of songs off their newest album, the set both resembled the studio version in its fullness, yet took on a whole new life in its live environment. Set within a context of cross-collaboration between creatives pushing for greater inclusivity, its events like this that show us how we can create empowering and exciting change from a grassroots level. At the moment the music industry needs to Come Back Better, and this is just the beginning.
Just as Goat Girl encouraged us to think about ways in which we can improve the inclusivity of the music industry, we ask you to do the same. We’d love to hear your ideas over at lastbusmagazine@gmail.com so please do get in touch.
Check out more info on the Come Back Better campaign here and Vocal Girls Club here!