Equalizing the Field: How Gender Shapes Electronic Music Production Career Trajectories in the Netherlands

Despite a noticeable increase in female DJs and rising calls for inclusivity within the Dutch niche electronic music scene, the number of women engaging in electronic music production still seems to lag behind. Therefore, this research explores the obstacles hindering women from music production within the Dutch niche electronic music scene. It seeks to answer the following question: ‘To what extent do female DJs and producers in the Dutch niche electronic music scene experience negative gender dynamics in their step towards music producing?’. The study draws on existing academic literature by engaging with works on both general gender theories and those specifically applied to the (electronic) music industry. Additionally, it makes use of works on genre categories and conventions in order to get a clear image of the underground electronic music scene. Besides, this study analyses 15 semi-structured interviews with female DJs and producers active in the Dutch electronic underground scene. From this analysis a paradox follows. Despite the scene’s image of being very diverse and inclusive, these values are not always reflected in practice. It is shown that female artists still face negative gender dynamics. Insecurities, feelings of inexperience and a steep learning curve all hold women back in their step towards music production or publicly sharing their creations. Gendered experiences like sexist remarks or technical underestimation also play a big role in this. Importantly, the analysis shows a pattern of many negative gender dynamics experienced by the artists relate to the prejudice or stereotype that women are less technically inclined than men. The fact that female artists are still underrepresented in niche electronic music, has resulted in programmers and label owners applying a booking strategy that focuses on inclusivity. The analysis reveals that while gender-inclusive booking strategies are intended to promote diversity and help increase opportunities for women, they simultaneously intensify feelings of imposter syndrome and stereotype threat among female artists, creating a double-edged sword effect. The implications of these findings extend beyond the niche electronic music scene, offering valuable insights for (electronic) music industry professionals, policy makers in the creative field and gender scholars working on music and the creative field.