As festival season rapidly rolls in, weâ€™re constantly being reminded of the continuing lack of diversity on our lineups. With a recent study indicating 86 per cent of the lineups of 12 major music festivals last year including Glastonbury, Reading and Leeds and Creamfields were male, it seems that the ears at the top are still unwilling to break up the boys club that makes up our live music industry.
Without music, life would be a mistake.
Thatâ€™s not to say the diversity â€“ and demand â€“ isnâ€™t there. With collectives such as SIREN and Discwoman championing female talent in the electronic music scene, and artists such as BjÃ¶rk, Grimes and Kesha speaking out in defence of womenâ€™s rights in the industry, thereâ€™s never seemed a more appropriate time to shake up our lineups. One group unwilling to wait for the wider industry to take note is Sad Grrrls Club. Originally founded by Rachel Maria Cox as a record label and booking agency in order for them to support non-binary and female acts and challenge Australiaâ€™s male-dominated live music scene, Cox has grown the organisation from itâ€™s DIY roots to fully fledged music festival taking place across two cities.
Inspired by the Riot Grrrl movement as well as Audrey Wollenâ€™s Sad Girl Theory, Sad Grrrls Fest showcases bands and musicians that have at least one female or non-binary member. But are all-female lineups breaking down the gender divide, or widening it even further? Below we caught up with the festivalâ€™s founder to discuss safer space policies, reverse sexism and the power of expressing our emotions.
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