We believe in women in live music.
Let’s stay tuned, connected and bold.
Who are we?
Women in Live Music [WILM] is a European platform and
online community for women working backstage in live music;
this includes Sound Engineers, Tour Managers,
Lighting Designers, Riggers, Backliners, Stage Managers,
Stagehands, Truck Drivers and more.
Why?
To this day, women only make up a minor percentage of the
workforce in the music industry. This primarily motivated
the creation of WILM. However no change can be effective
without support from everyone; so we welcome every gender
to join us in our effort to ensure a balanced diversity for the future.
How?
This website, in addition to our pages on social media,
constitute a starting point in connecting our members.
We interact on social media on a daily basis, where everyone,
regardless of gender is invited to share experiences, pictures,
and tips with other members.
The community then goes beyond, into organising workshops
and meet-ups throughout Europe.
During these events, members can interact, learn and forge
long-lasting friendships with like-minded individuals.
Our events aspire to create a supportive and
inspiring community.
Crewlist
This list is a tool for bands, booking agencies, and companies
looking for female crew members – whether they are looking for
backliners in France or merch sellers in Germany, our CrewList
aims at facilitating accessibility to qualified women working in
the field.
In addition, the CrewList can also be used for networking and
reaching out to members from other regions, for the simple sake
of meeting, or to ask for guidance while on tour in their
region.
We encourage all women working in the live music industry
to join our CrewList!
Thank you
The team behind
Women In Live Music
Our Partners
Rational Acoustics are helping us motivate more women to participate in technical training by offering two scholarships per year for our members in Europe. We are also fortunate that Rational Acoustics are giving members 15% discount on items from their online store. Please, email us at info@womeninlivemusic.eu if you would like a voucher for the discount. (This is for WILM members only).
Britannia Row Production Training – Malle (CEO) and Hannah (Co-director) met each other at BRPT in 2014 and are forever grateful for this beautiful place.
And nonetheless, WILM are super grateful for the support BRPT contributes with in order to find and help future female live sound engineers.
Flight Cases International – Behind the popular WILMAward trophy is the flightcase company Flightcases.dk that are successful in Denmark, Finland & Austria. Flightcases.dk has been creating and sponsoring the legendary trophies for the WILMA’s since 2020. On top of that all WILM members get 20% off all the company’s products by emailing us for a code.
Allen & Heath have from the beginning, provided us with consoles and assistance for training purposes, which we highly appreciate.
Shure – Shure were some of the first to put on workshops with us, and an important sponsor for our WILMAwards!
Dirty Rigger – DR have been our friends from the very start and have often sponsored great gear for different WILM events. With them WILM members can get 15% discount by emailing us for a code.
Safe Learning Environment
Over the years, WILM has realised the importance for women to have access to a community of like-minded women when working in an industry such as the live music industry, which is heavily male-dominated.
Equally important is for women to have strong female role models, so they feel comfortable and secure in their chosen field. We notice women with a strong support network tend to stay in the industry for longer, than those without.
WILM wish to assist our members with a more secure start in the music industry through our program, where women will have possibilities to gain experience and training from other more experienced women already working in the field.
Simultaneously these women will be introduced to a greater supportive community of colleagues from all over Europe through the activities of WILM.
The vision of this project is to break the existing pattern of women new to the industry feeling intimidated and alone, with the support of a safe learning framework. We particularly want to show young girls that traditionally male-dominated occupations such as Sound Engineering can be natural for them to work in.
The mentioned learning frameworks are achieved by having women employed to teach, and in general present the participants to different female role models in the live music industry.
- Young girls often do not know who to reach out to if they want to become an active part of the live music industry.
- Women make up a very small percentage of the technical working force in the live music industry.
- Many women seem to lose confidence when they are trained by men – especially in the technical field.
- Many women do not feel that they belong to a community in the industry.
- This lack of belonging and support is a reason why many women are dropping out of the music industry after a relatively short time in comparison to their male counterparts.
NB. There is little research that supports the statement above. However, reviews of existing research on gender stereotypes in society indicates that a profession with a major imbalance in gender distribution affects women’s future career choices, including discontinuation.
Research also shows that girls at a young age have a higher tendency to develop self-criticism and are increasingly afraid to underperform, compared to boys.
It is undoubtedly very particular to one’s upbringing, as well as external and internal influences, but it can help explain why young girls do not trust that they will be able to handle certain subjects, and ultimately it can help explain why there are so few women working within technology and engineering today, where you find a clear preponderance of men.
By changing the mindset! First of all we wish to change the negative view women have of themselves in this industry. We notice a big number of women putting an exaggerated amount of pressure on themselves from the beginning, or who feel very intimidated from the very start.
Therefore, with a closed circle of women – sometimes even just one-to-one, we wish to introduce a learning environment where mistakes are allowed and where time is granted to start over again. Also where there will be a lot of opportunities for hands-on and practical experiences for each individual.
We have divided our program into four different sections:
- Festival: We offer a multi-day workshop for a selected group of women, where they are partly included as volunteers, and also part of a WILM-camp where the participants will be introduced to a different theme every day, such as sound, lights, production, etc.
- Venue: We offer one-to-one training on selected gigs in either production or tech, followed up by the proposal for a mentorship.
- Workshop: We continually offer “Intro to” workshops with the introduction to different fields in production or tech. These workshops are all over Europe, for women by women.
- Camp: In association with Bang&Olufsen we are in the process of creating an annual 4-day camp for up to 20 girls aged 15-20, introducing them to Live Sound.
For each section an introduction to different options of education and the greater network will be included.
Read more about the individual sections further down.
We want to be a gate for women who wish to enter the live music industry.
We also want to change the mindset for young girls and make it natural for them to work in “a man’s world”.
We hope that within the next 5-7 years the number of women working behind the stage will have increased from less than 10% to hopefully 35% – not only by introducing women to the industry, but also by holding onto those already working in the industry.
Unfortunately the Safe Learning Environment program is not without costs. We require funding to cover the instructor fees, the project managers and their assistants. We also need funding for learning materials and sometimes we need support for travel arrangements and accommodation for the events across Europe. We depend on accessing venues and gear for free, and are very grateful to those who are help us out with this.
Our principals dictate our workshops should be free of charge, as we believe knowledge is power and should be given for free to everybody, not just those who are lucky enough to afford it. If you have an idea for a donation or a sponsorship, we are open for any suggestions.
Please do not hesitate to contact us in order to receive more information
Email: info@womeninlivemusic.eu
Facebook – please visit our private group
WILM Ambassadors
The WILM Ambassadors are organisations, companies & artists who actively support WILM and the effort for more diversity backstage.
Sylvia Massy
Sylvia Massy, a legendary producer & mix engineer – is a bona fide badass sonic architect, smashing the limits of what music can be. From unleashing the raw power of Tool to shaping legends like Johnny Cash and Prince, she doesn’t just produce records—she reinvents them. With gold and platinum records stacked under her belt, she doesn’t follow the rules—she rewrites them
Nadu Placca
Nadu is based in London , and the creator of The ZOO XYZ. She holds a BA in Events Management and Music & Media Management. With 16 years in the event industry, Nadu is known as a highly accomplished International Event Architect and businesswoman.
Can you tell us what inspired the creation of The Zoo XYZ?
I was inspired to create a disruptive brand. A brand that challenges the status quo and
builds a community where underrepresented voices are not only heard but truly seen
and valued.
What would you say are the main challenges that women from minorities face in the industry? What have you done to give back to your community?
Ask them and they will all tell you a variety of experiences that they are challenged by.
The main ones that stand out from my own experience and of those connected to me
often seem to be:
● Not having a work environment that feels safe, where you can be yourself
without fear of judgement, misunderstanding and lack of community.
● Continuously having to “prove’ their worth in a role against male and white
counterparts which also has a knock on effect to equality in pay.
What have you done to give back to your community?
Access. Opportunities. Experience.
When I first started in the industry I was headhunted out of university and began
delivering event management training courses at Rising Tide. There I realised a lot of
my friends could not get Event experience without a job and couldn’t get a job
without experience. A vicious cycle, so I developed the next step, a course that
provided vocational and practical experience, a 12 week L3 AQA accredited course
teaching all about the industry and then the opportunity to produce an event using
that experience. This for me was the ultimate way of providing access to this crazy
world of Events.
From there I continued to form great relationships working with some of the now OG’s in the music and events industry and extended this access to those within my
network. I’m now considered a plug to many far and wide I realised I could produce
things in a very short space of time with great connections, and suppliers. By
connecting people I was able to extend these opportunities.
As the scale and scope of work we produced grew, so did those wanting to get into
this world and grow their own businesses and experiences. I’ve always wanted to
share my knowledge of the industry so expanding our teachings, opportunities and
voice was essential to increasing visibility of the Black experience.
I continue to gain insight, have conversations and advocate for my community and do
so through as many channels as I can.
How do you plan to use your role as an ambassador to impact the events
industry?
I plan to continue to be vocal in as many new spaces as possible, connecting,
empowering and learning simultaneously.
What is your dream event to produce?
This is a tough question because there isn’t just one event that stands out. For me, the
ideal event is where creativity thrives with a great budget—an event producer’s
dream! The best events come to life when you have a talented team working
alongside an equally amazing client. When those two worlds align, that’s where real
creativity flourishes. I’m particularly passionate about bringing activations to life across
the African continent. The more we can do there, the better! I’ve even started laying
the groundwork for a touring circuit in Africa before COVID, and I hope to use that
experience to build something sustainable in the future.
What legacy do you want to leave in the events industry?
The legacy I want to leave in the events industry is one where the Black community is
truly seen, heard, and celebrated for our exceptional contributions. I want to ensure
our voices and talents are recognised, not just occasionally, but consistently in the
spotlight. It’s about creating pathways for Black event professionals to lead, innovate,
and have their creative excellence acknowledged. I aim to foster a culture where
diversity and inclusion are embedded into the core of the industry, ensuring Black
professionals have equal access to opportunities, recognition, and success, ultimately
shaping a more equitable and representative future.
Linnea Ljungmark
Linnea is the owner of Topstage and the swedish distributor for Ayrton
She is also a representative for the global organisation WIL – Women in Lighting.
As a sales manager through many years for Ayrton and now MD for the Swedish company Topstage (exclusive distributor for Ayrton, but also for Schnick & Schnack Systems and Follow-Me in Sweden), what is the main task in your job?
We provide our industry with hardware and sometimes support & knowledge, tools for designers and equipment for rental companies, theatres, venues and installations. Topstage focus is on selling lighting to the Swedish market and my role is to run the company and make sure we spread information about the products and create demand. In the end it’s about sales.
With many years behind you in the sales department of products for the event lighting industry do you feel your industry has changed – and in which way?
I think the industry has been under constant development since touring became a big thing in the 80’s. Some of those who’ve been around since the beginning are now retiring and I think there is a shift in generation happening, this comes with new ideas and change. There are a lot more women in technical positions compared to 25 years ago even if we are still underrepresented. Believe it or not but back then so called booth babes were a thing at trade shows, it’s a relief that we moved away from that. Major technological changes we’ve seen include the introduction of LED lights and the integration of video in the design and more recently we are seeing lasers being used as a source in moving lights.
With few words what kind of effort has Ayrton done for more diversity behind the scenes
The easy way of doing things is by doing what you always did and turning to those who remind you of yourself. I think the key here is awareness on a management level and Ayrtonemploys people from very different age groups, nationalities and backgrounds. This isn’t just about gender and in the end it needs to be about competence but diversity can create a more dynamic and creative workplace and also give you a larger group to recruit from. When I came up with the idea to include entertainment lighting to the architectural lighting project ‘Women In Lighting’ Ayrton made it possible and played a major role in making it happen. I think this partnership shows how open Ayrton is to thinking outside the box, WIL x Ayrton has been a game changer for many women in lighting and for our industry as a whole.
You mentioned Women In Lighting for whom you are a representative – can you tell us a bit about this project?
The Women In Lighting project is about highlighting the work of women in a male dominated industry. When creating a platform for women to talk about their work they will also serve as role models and sources of inspiration for women from all over the world. Women In Lighting(WIL) Entertainment is not just for designers but open for technicians, sales, marketing, operators to join and on the website www.womeninlighting.com there are interviews, both recorded and in written, that you can read and watch, go to the entertainment section for the part related to our industry. You can also upload your own written interview and If you sign up for the Entertainment Newsletter you will receive information and invitations to the Meet-Up’s we are organising. Seeing this project come together to include entertainment lighting and growing and developing globally is a fantastic journey, I am so glad to be part of it!
Please email womeninlighting@ayrton.eu if you have any questions for Linnea.
Youngblood Brass Band & their TM/FOH Natalie
The Youngblood Brass Band is an American brass band from Madison, Wisconsin that was established in 1998
From your perspective, what are some of the biggest barriers women and underrepresented groups still face in touring and live production?
There is a general assumption of competence or benefit of the doubt given to men in music that isn’t automatically given to women and other underrepresented groups, and we often run into a default assumption that our crew is all male, even when Natalie is the DOS contact, TM/advance contact, technical/FOH contact, and first to enter a venue and introduce herself.
As new WILM Ambassadors, what conversations or changes would you like to help push forward within the live music industry?
In the US, there is a significant drop in arts participation in young women between secondary school and university. How can we advocate for women to continue in the arts during university? One way is to create representation in our own spaces so young women can see themselves in the industry, and further normalize the presence of women in high-level/top-tier technical and production roles. Another is working with school programs on connecting young women interested in live music/arts careers with industry resources and internships.
What would you say to artists and crews who want to build more inclusive touring environments but don’t know where to start?
Ask your current vendors/agencies/labels who they recommend for roles like FOH, TM, lighting director, etc, and actively seek out diverse candidates; be intentional about specifically asking women/POC for recommendations.
Throughout your career, what changes have you seen in diversity and representation within the live music industry?
It’s slowly improving, especially in smaller production roles, but at the top of the production food chain (FOH, TM, MD, Production Manager) it is still slow to change. Adam Meckler, trumpet/jazz music professor: “As I was coming up as a full time player, I was surprised by how segregated the scene was in my town. Change starts with the individual. I’ve noticed that when I am intentional about hiring women and musicians of color in my bands/crew that the musical experience is richer for it. I’ve learned that if I want to see change, that if I want the scene I’m in to feel less segregated, I need to be intentional about making that happen myself, and perhaps others will follow.”
Why did becoming a WILMAmbassador feel like a natural fit for Youngblood Brass Band?
Natalie has been an essential part of Youngblood Brass Band for more than a decade, and she has filled many different roles (sometimes all at once!). This is one small way for us to support her, other women in the arts, and organizations actively working to increase visibility for women in the live music.