Many artists have pointed out a double standard when their work is judged in comparison with that of male colleagues. A higher level of demand, a subtle yet obvious pressure, haunts female performers who must remain perpetually youthful while delivering ambitious shows, improving their craft, reinventing themselves, and staying polished for the public and the music industry alike.
That demand carries a structural undertone, notes Almudena Heredero, president of the Association of Women in the Music Industry (MIM). In a sector historically led by men, there is a clear and deep-rooted gender inequality that stems from social, educational, and cultural foundations. Change must begin early, in homes, schools, and media, and extend through the industry itself, Heredero asserts.
Recently, Aitana, who has naturally progressed in her artistic career, voiced frustration with the scrutinizing gaze during a well-received speech at Elle magazine’s awards ceremony. “Maturity is fine for others, but it feels improper for me. Because of being a woman, everything is subject to speculation,” the Catalan artist, 24, explained, also mentioning questions and doubts she receives about her songwriting abilities from within the industry itself.
Her words resonate with a message once delivered by pop icon Taylor Swift in the documentary Miss Americana (2020), where she said: “We live in a society that discards women artists into a tomb after age 35. New toys for two years, that’s the pattern. The artists I know have reinvented themselves twenty times more than our male counterparts. They must, or they risk losing work. We want them to stay new and young, but only in a way that serves our preferences. They should tell a compelling story, entertain us, but not threaten our comfort.”
Beyond the Stage
This demanded stage presence, rooted in machismo, spills over into every layer of the music industry, including roles with less spotlight but similar or greater discrimination. The second Gender Equality in the Music Industry study (2022) from MIM shows that women in the sector are more educated than men, yet higher qualifications do not translate into more stable jobs or higher pay. The wage gap exceeds 20%, and certain roles remain predominantly male-dominated.
“Across vertical and horizontal lines, inequality persists. It affects how female artists are treated, the ones who ultimately drive the work,” Heredero explains. “There are few role models in the industry. If the industry does not take a stand for equality in every aspect, women may not be treated the same as men.” She argues for elevating women into leadership roles and positions of influence.
Heredero notes a lingering skeleton of the old-school era from the 1960s, with male-dominated structures that assumed music was not a fit for women. Leonora Casacu, founder of Ladradora five years ago, is representative of a shift. Her agency represents and promotes female talent, counting artists like Kitty10 and Kyne, along with producer and DJ Awwz, among others. Casacu describes an evolving identity for the entity she calls FLINTA — women, lesbians, intersex, non-binary, trans, or agender individuals — a label reflecting a broader, inclusive mission. The persistent machismo is especially evident in live venues run by “old school” promoters, Casacu notes.
Casacu, who has worn many hats in the sector, recalls working at a multinational label before founding the agency. “There were artists breaking through at eighteen, signing with the label, yet the industry leadership didn’t understand the codes or the world these projects inhabited. They lacked spaces where they could be heard and supported professionally. There were few young women managers who could connect with these projects,” she explains. Ladradora is described as a family, a safe space where young women can be themselves and still grow professionally.
Casacu highlights the aesthetic side of the unequal treatment and the aforementioned demand placed on artists. “They should not age or show wrinkles. This struggle transcends music and touches everyday life. Women are expected to stay flawless at all times.” She notes that stage expectations also differ by genre. “In pop, there’s a traditional demand for performers to be divas who sing, dance, play guitar, and perform stunts,” she observes. Yet she adds a caveat: there is a distinct gap between fresh, modern acts and older ones, and, in any case, “women should not lower their standards while men simply need to raise theirs.” In rap and trap, where solo artists often dominate, some acts may no longer be compelling, and audiences tire of the same formats, she contends.