Gender equality on stage is an ongoing issue that has come back into focus, especially in Switzerland, since the criticism of the 100 per cent male line-up at the Moon&Stars Festival 2022. As a show producer and part of the Art on Ice creative team, I am also familiar with the challenge of finding female artists for big shows who are not only musically convincing, but can also be booked for big stages within a realistic budget.
Of course, there are numerous women who are absolute megastars – artists such as Taylor Swift, Billie Eilish, Miley Cyrus, Adele and Beyoncé are among the best-known and most successful acts in the world. But their fees are astronomical, making them difficult for many event organisers to afford. And it’s not as if there is a lack of talented and impressive female artists. But when it comes to booking decisions, the question always arises: Is this artist well-known enough? Maybe it’s just my personal perception, but this discussion seems to come up more often with female acts than with their male counterparts.
So why is it still an issue in 2024 to achieve this equality? Why is it that women in the music industry – despite their talent and quality – are often less visible or less present on the big stages? These questions remain central when it comes to making lasting changes to structures and perceptions in the industry.
Studies show that women are systematically underrepresented in the music industry. Despite positive trends, men dominate the charts, stages and production roles. A US analysis found that between 2012 and 2022, only 30 per cent of the top acts in the charts were female, and the proportion of female producers was as low as 4 per cent. These figures illustrate the persistence of structural barriers and market constraints that make it difficult for women to gain access and put them at a disadvantage in the music industry. However, I am hopeful that the Grammys are now mainly dominated by women.
Percentage of women in the US music industry 2012-2022
The reasons for this imbalance run deep: female musicians are often confronted with stereotypical expectations and traditional roles. Studies show that girls are less likely to be pointed towards “hard” instruments such as bass or drums and therefore develop less confidence in a musical career at a young age. This traditional gender image still characterises the industry today and one can only hope that we as a society are slowly but surely moving away from such structures.
Female role models and networks that help women to assert themselves in competition are important. Initiatives such as “Helvetia rockt” and “female act” offer helpful platforms for women (FINTA) in music and support them on their career path.
Ultimately, the challenge at the moment is to find a balance between artistic diversity and commercial success. In light of these discussions, I also took stock of Art on Ice’s booking history and analysed the gender distribution of our music acts over the last ten years. Between 2015 and 2025, we had a total of 14 female acts and 18 male acts, with the main acts being female in four out of ten shows. Our aim at Art on Ice is to put together a line-up that is as colourful and diverse as possible – not because we want to fulfil a quota, but because we firmly believe that diversity enriches the quality and experience of our shows. In addition, it is our self-declared aim to book music acts that we feel are suitable, above all because of their music, personality and stage presence.
With Paloma Faith and Birdy as producers for the Art on Ice Show 2025, we are fulfilling two long-cherished wishes : Both names have been at the top of our “prio list” for many years and now we have finally been able to engage them. Together with Stress and Marius Bear, we have created a line-up that not only covers a broad musical spectrum, but also offers an equal gender distribution.
The 2025 show will be my tenth Art on Ice as a producer, and in a way closes a circle. My first show began with Jessie J, an absolute force on stage whose performance still impresses me to this day. The fact that I can now celebrate my anniversary with artists like Paloma Faith and Birdy means a lot to me personally and fills me with pride and anticipation. In my eyes, both women are fantastic artists with great songs that are moving and have something to say. As different as they are, they will complement the overall picture of the show. (Marius Bear and Stress too, of course, but this article is dedicated to the women 😉
The challenges for women in the music industry still seem great, but I am confident that increasing awareness and more opportunities for female acts will see more and more female artists conquering the big stages. And I hope that we all remain curious about music and the people behind it, whether on the producer or consumer side. Let’s discover and share music beyond the charts. This is the only way we can all make a contribution to increasing the visibility of those who depend on it.
Experience the female power of Paloma Faith and Birdy live at Art on Ice 2025 and find the complete programme here.
The digital world makes it easier than ever to discover and share music. As a small contribution, Marcella provides some of her personal music tips from her favourite female artists. Pure female power! Maybe you’ll discover a new hit for the coming winter weeks.
Marcella Camenzind is Head of Creation & Design at Art on Ice and has been part of the show department since 2015. The 43-year-old has a soft spot for animated films and comics and loves rummaging through flea markets. She finds inspiration and ideas for the show in music, films and podcasts.
