CMT Throws a Data Party to Prove Country Fans Really Do Want More Female Artists
That this 25% representation in the top 20 is a sign of newfound hope and/or a serious aberration was pointed up by a different study conducted by Dr. Jada Watson, who was also on hand for the presentation, held in an amphitheater-type setting in the WME offices high up in one of booming Nashville’s downtown skyscrapers.
Leaving aside the good news of currently having a recently unheard of 25% representation — for 50% of the population — in the top 20, looking back at the more typical 10% stat, there was a human toll to be brought up amid the numbers.
, CMT’s senior VP of music strategy, and the force behind the network’s Next Women of Country initiatives. “It’s not that we’re playing all brand-new women every single hour. It’s not about unfamiliarity. It’s about bringing female voices back into the mix, so in video hours, it’s really a balance of new hit songs with maybe golds from 5-10 years ago, also playing hits from the ’90s and bringing those recurrents back in, so within an hour you get a really good equal balance of that.
The one label rep on the panel, Cris Lacy, senior VP of A&R for Warner Music Nashville, wasn’t going to let record companies take the blame, or at least hers — right now Warner has two newcomer women in the top 20, Andress and Barrett, and they’re pushing another single by Ashley McBryde, “One Night Standards,” to get up there as well. Lacy said there would be even more women on the Warner roster if they hadn’t lost out on some bidding wars.
One puzzle Molinar addressed is why certain songs by women will rack up big consumption numbers — meaning streaming and sales — but die in the 20s, 30s and 40s on the airplay charts. Could the problem with gender disparity be with the fans, much as no one wants to pass the buck to them? Along with emphasizing the figure that 84% of listeners are good with the idea of equal play on the radio, the Coleman Insights rep repeatedly touted the figure that 53% of listeners expressed no gender preference. But that leaves 47% whoadmit to preferring hearing the voices of one gender or the other — not an inconsiderable amount, some programmers might say.
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