Support in Self Isolation #2: FACTS 2020 Report

On Sunday March 8, FACTS 2020 was published and launched worldwide. FACTS is an independent piece of research carried out every two years by female:pressure, a global music network for people working in electronic music.

FACTS quantifies the gender of performers on the line ups of electronic music festivals worldwide, and the 2020 edition highlighted how the gap between male and female performers is narrowing – but narrowing far too slowly.

FACTS is carried out independently by volunteer members of the female:pressure network without any external support or funding. This years edition was particularly significant for Ireland, as it was the first time that the country’s music festivals had been included in the line up, and the results were launched at an event in Dublin. It was also the first time that a female:pressure event had been hosted in Ireland in the network’s 22 year history.

The FACTS report also includes recommendations for artists and festivals organisers.

The full FACTS report can be read and downloaded here: https://femalepressure.wordpress.com/

KEY POINTS FROM FACTS 2020

1. From 2017 to 2019, there are 20.5% female acts, 0.6% non-binary acts, 70.3% male acts‚ 6.6% mixed, and 2.0% unidentified acts at electronic music festival line ups worldwide (392 festival editions, of 166 different festivals, from 2017 to 2019. This includes 134 festival editions in 2017, 131 in 2018, and 127 in 2019).

2. From 2012 to 2019, there is an increase in the number of female artists and a decrease in the number of male artists (9.2% female (2012) –> 24.6% female (2019), 81.5% male (2012) –> 66.2% male (2019).

3. Ireland has followed the overall trend in that there has been a decrease in the number of male artists and an increase in the number of female artists.

4. Though, we fall outside the European average of gender representation. On average from 2017 – 2019, female acts numbered 21% and male acts numbered 69% across European festivals. The UK falls in line with this average, while Ireland (11% female, 80% male) does not.

5. In 2019, the top three festivals with the highest proportion of female acts were in Germany (95.5%), Austria (63.3%), and Slovenia (55%).

6. In 2019, the top three festivals with the highest proportion of male acts were in Ireland (94%), USA (93.9%), and Russia (92.1%)

7. From 2012 to 2019 festivals in Russia and Mexico have the lowest percentages of female acts [less than 11%] while festivals in Sweden (37%) and Austria (22%) have the highest percentage.

8. (2017-2019) As the festival size grows (i.e. the number of acts grows), so too does the gap between male and female representation in line ups at electronic music festivals. (see graph). Festivals with between 20-29 acts had the most narrow gap between male and female acts.

9. (2017-2019) For festivals with all female teams, the mean number of female acts was 44.4% and 43.9% for male acts.

10. (2017-2019) With all male teams, the mean number of female acts was 20.4%, and 70.2% for male acts.

11. (2017-2019) Acts on the line ups of publicly funded festivals were 26.2% female and 62.8% male.

12. (2017-2019) Acts on the line ups of festivals without public funding were 17% female and 72.2% male.

13. (2017-2019) For festivals with <300 attendees, female acts numbered 29% and male acts 62.5%

14. (2017-2019) For festivals with more than 4,000 attendees, female acts numbered 17.4% and male acts 74.4%

15. (2017-2019) The most balanced proportions were found in festivals with between 1,000 and 2,000 attendees (35.1% female and 50.4% male)

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