Introduction
Women-led festival lineups and female-driven production teams are reshaping the live events landscape worldwide. Major music festivals have historically been male-dominated – from the headliners on stage to the organizers running the show – but a wave of women-centered festivals is turning the tide. These events prioritize female talent on stage, put women in leadership behind the scenes, and often introduce innovations in childcare, safety, and crew recruitment to create more inclusive experiences. This case study examines several prominent women-centered festivals across different countries, comparing how each tackles critical considerations like childcare services for attendees and artists, safety and harassment prevention, recruitment of female crew members, media representation, and alignment with sponsors or partners. The successes and challenges of these pioneering festivals hold valuable lessons for festival producers everywhere looking to build more inclusive and equitable events.
Lilith Fair (North America, 1997–1999; 2010 revival) – Pioneering Women-Only Lineups
Overview: Lilith Fair was a groundbreaking touring festival in the late 1990s founded by musician Sarah McLachlan and her team as a response to industry bias against women artists. Faced with agents and promoters claiming two female artists couldn’t sell tickets together, McLachlan proved them wrong by curating all-female lineups of singer-songwriters and women-led bands (www.vanityfair.com) (www.vanityfair.com). Over three summers, Lilith Fair traveled to cities across the U.S. and Canada, featuring superstars (from Sheryl Crow to Missy Elliott) alongside emerging female acts.
Lineup and Production: The lineup was 100% women, which was revolutionary for its time. Behind the scenes, women took on key production roles wherever possible, setting a precedent for female leadership in festival operations. McLachlan fostered an environment of collaboration rather than competition among artists. For example, each show ended with all the day’s performers returning to stage for a group sing-along, symbolizing unity (www.vanityfair.com). Backstage, the organizers made sure the atmosphere was family-friendly – some artists brought their children on tour, and a private area was set up so mothers like Erykah Badu could comfortably breastfeed and care for their kids between sets (www.vanityfair.com). This kind of support showed how thoughtful festival planning can accommodate artists’ family needs even on a major tour.
Childcare and Family Support: While Lilith Fair did not offer public childcare for attendees (it was a one-day concert in each city), its family-conscious backstage set a tone. The inclusion of amenities for artists’ kids sent a wider message that women with children had a place in the industry. Fans attending Lilith Fair often described the shows as feeling safer and more inclusive than other rock festivals of the era – a place where mothers and daughters could enjoy music together without the typical rowdy crowd behavior.
Safety Measures: Security and crowd management at Lilith Fair were reportedly attentive and the vibe respectful. The audience skewed largely female, which many attendees felt created a more relaxed atmosphere. There were activist booths (for organizations like RAINN and Planned Parenthood) reinforcing messages of respect and women’s rights. The festival’s very existence was a safety statement in a way – it proved that a large-scale event could be successful without the hyper-masculine energy that sometimes pervades festival crowds. Harassment incidents were rare at Lilith Fair compared to some contemporary festivals, likely due to the makeup of the crowd and a zero-tolerance policy conveyed by organizers.
Crew Recruiting: Lilith Fair’s production was supported by industry partners (such as Nettwerk and local promoters), and while not all crew were women, the leadership set an intention to hire diversely. Many female festival organizers and crew members cite Lilith Fair as an inspiration for entering the events business. The tour demonstrated that women could excel in roles from stage management to sound engineering at a big festival. McLachlan has mentioned that she wanted everyone – artists and crew alike – to feel welcome and valued on Lilith Fair (www.vanityfair.com), a management ethos that helped crew retention.
Media Framing: The media response to Lilith Fair was mixed. Some critics in the late ’90s heaped scorn on the concept of an all-female bill – one even derided it as “a total crock of s***,” and industry insiders mockingly dubbed it “Lesbopalooza” (www.vanityfair.com). However, after Lilith Fair drew over 1.5 million attendees and grossed $52 million in ticket sales (with over $10 million donated to women’s charities) (www.vanityfair.com), it forced skeptics to eat their words. The press began to acknowledge its impact on elevating female artists. Lilith Fair’s success was often framed as a feel-good story of empowerment and proof that female-driven events had a massive market. Still, the “women’s music” label sometimes led media to treat it as a novelty or niche, rather than simply a mainstream festival. The 2010 attempt to revive Lilith Fair met lukewarm media reception and suffered low ticket sales – timing and lineup choices were blamed, but some commentators unfairly questioned whether a women-centric festival was still relevant. This underscores how important media framing can be: festivals must continuously communicate their relevance and values to the public.
Partner Fit: Lilith Fair’s partners and sponsors were carefully chosen to align with its ethos. For example, the tour had corporate sponsors in its heyday (like Starbucks Coffee and Charter One Pavilion) but also partnered with Lilith’s nonprofit affiliates. Crucially, a portion of every ticket sold went to local women’s shelters and charities in each city on the tour. This charitable component strengthened partner fit – sponsors were supporting not just a concert, but a social cause, which improved public perception. Future festival producers can learn from this: aligning with brands and nonprofits that genuinely support your festival’s mission (in this case, female empowerment and community) creates a more authentic and appealing event.
Lessons: Lilith Fair proved that women-led festivals can be both culturally influential and financially successful. Its legacy lives on in the many festivals now striving for gender-balanced lineups. The key takeaways from Lilith are to be intentional in programming, back it up with strong marketing that challenges outdated industry assumptions, provide support for artists (or attendees) who have families, and engage partners that reinforce your message. By creating a festival with a clear social purpose, Lilith Fair built a lasting brand that’s still fondly remembered by fans and artists alike.
Michigan Womyn’s Music Festival (USA, 1976–2015) – A Community Built by Women, for Women
Overview: The Michigan Womyn’s Music Festival (often called “Michfest”) was a one-week, women-only festival held on 650 acres of woodland in Michigan every August for nearly 40 years. Founded in 1976 by Lisa Vogel and a collective of women, Michfest became a pillar of second-wave feminist culture and “women’s space.” It featured all-female performers (from folk singers and rock bands to comedians and poets) and was notable for its entirely female-run infrastructure. This festival wasn’t just about music – it was about living in an autonomous female-centered community, if only for a week each year.
Lineup and Production Leadership: Michfest’s lineup spanned both renowned and up-and-coming female artists, prioritizing diversity in genre and background. What truly set it apart was the production leadership: everything on the festival “Land” (as devotees called the site) was handled by women (www.michfest.com). This meant women ran the ticketing, built the stages, handled electrical and security, cooked in the kitchens, and directed logistics. Attendees didn’t just watch performances; they also participated in sustaining the event. Every attendee volunteered for a short work shift – whether it was helping in the kitchen or picking up trash – reinforcing the cooperative spirit. The festival in essence trained and empowered countless women in event production skills over the decades. Many crew members started as audience volunteers and grew into departmental leaders, a testament to how inclusive recruiting and mentoring can build expertise from the ground up.
Childcare and Family Services: Michigan Womyn’s Music Festival was exemplary in providing family support so that mothers could fully participate. The festival offered on-site childcare in multiple age-specific areas. For instance, “Sprouts Camp” was a daytime play and care area for toddlers and young children (infant to age 4) attending with their moms (www.michfest.com). For older children, there were the “Gaia Girls” camp (for girls 5 and up) and even a “Brother Sun” boys camp, which provided activities for boys aged 5–10 away from the main festival grounds (www.michfest.com). This thoughtful setup meant that women didn’t have to choose between enjoying the festival and caring for their kids – they could do both. Importantly, the boys camp was located in a separate area of the forest, allowing the main festival space to remain an adult women-centric environment while still welcoming mothers of sons (boys under 5 could stay with their mothers). All children had to be pre-registered, with a small additional ticket fee, and a dedicated team of caregivers (all women) ran these camps. This level of childcare service is rare in the festival world and stands out as a best practice in accessibility and inclusivity for parents.
Safety and Security: Safety at Michfest was approached through the lens of creating a self-contained community. By limiting attendance strictly to “womyn” (which in Michfest’s definition meant women assigned female at birth – a policy that later became controversial), the organizers intended to eliminate the threat of male violence or harassment on the Land. There were no police or outside security on site; instead, a volunteer women’s security team called “Security/Welcome” monitored the grounds. They focused on de-escalation, health emergencies, and guiding any men (e.g. delivery drivers or nearby hunters who wandered in) off the premises. Many women reported feeling a profound sense of safety and freedom at Michfest – camping among thousands of women with no fear of harassment was a unique experience. The festival also had robust support networks: a first-aid tent, mental health support, and protocols for conflict resolution within the community. One notable aspect was the lighting: paths through the woods were well-marked and lit at night, and women often walked in groups, creating a watchful sisterhood that further enhanced safety.
Crew Recruitment and Training: Michfest built its crew by recruiting from the attendee base and broader women’s communities. In the early years, most crew were volunteers. Over time it developed into a tiered structure with some paid seasonal staff and hundreds of volunteer workers. Because the festival explicitly aimed to be a space for “womyn-born womyn,” all staff and volunteers were women who met that policy. While this exclusivity was empowering for those included – giving women hands-on experience in everything from heavy machinery to sound mixing – it also meant the festival didn’t benefit from the talents of trans women or male allies in production. Nonetheless, the skill-building was immense. Michfest even ran “worker apprentice” programs where less experienced women could learn trades like electrical work or carpentry on site under the mentorship of veteran crew. The result was a self-sufficient operation: stages, kitchens, sanitation, and even security infrastructure (like fencing and lighting) were erected and taken down each year by women who honed their craft over decades. This model shows how festivals can develop in-house talent and reduce reliance on external contractors, though it requires a passionate community and significant training commitment.
Media Framing: Media coverage of Michfest was varied over its long history. For many years, mainstream press paid little attention to this woman-only gathering in the woods. Within feminist and LGBTQ circles, however, Michfest was celebrated as a utopian experiment in women-centric living and artistic expression. Attendees often described the experience as “transformative” and the festival was sometimes dubbed “The Original Womyn’s Woodstock.” Starting in the 1990s and 2000s, Michfest drew more press attention due to debates over its women-born-women policy excluding trans women. This controversy increasingly framed the media narrative until the festival’s end in 2015. Some media outlets portrayed Michfest as stuck in the past on gender issues, while others highlighted the ongoing demand for safe spaces for women. The festival’s closure was covered as a bittersweet end of an era – accolades for the community it built, tempered by criticism of its refusal to change with the times on inclusion. For modern producers, the Michfest story is a reminder that how the media perceives your values and policies can deeply affect your legacy. Being proactive in communicating who your event is for – and evolving that vision as society evolves – is crucial to positive media framing.
Partner Fit: Interestingly, Michfest operated largely without major corporate sponsors, especially in its later years. Its ethos was anti-corporate and DIY; funding came from ticket sales and community fundraisers. However, it did partner with many nonprofit organizations and women-owned businesses. On site, vendors selling food, crafts, and music were mostly women-owned enterprises that fit the feminist ethos. Partner organizations like women’s health collectives, HIV testing services, and self-defense instructors were given space to offer workshops. This ensured that everything at Michfest felt aligned with its mission of women’s empowerment – nothing felt “corporate” or out of place. The downside of this approach was financial: without big sponsors, the festival sometimes struggled economically, especially as attendance fell in later years. For festival organizers today, Michfest exemplifies the importance of mission-aligned partnerships – but also the need to balance ideals with financial sustainability. It might inspire modern fests to seek sponsors that actively support gender equality and community initiatives, rather than defaulting to more lucrative but less aligned sponsors.
Lessons: Michigan Womyn’s Music Festival showed how comprehensive a festival’s support system can be when inclusion is a priority – from childcare to accessibility services (Michfest also had services for deaf and disabled women) – and how that can foster fierce loyalty among attendees. It proved that an all-women production team could succeed at large-scale event logistics. The festival’s insistence on a closed definition of “womyn” also taught a hard lesson: exclusion in any form can become a lightning rod that overshadows an event’s positive aspects. The eventual demise of Michfest underscores the importance of adaptability and listening to community feedback. Future festival producers can draw on Michfest’s successes – like its pioneering childcare model and volunteer-driven crew development – while ensuring their events remain inclusive and culturally responsive.
The Dinah (Club Skirts Dinah Shore Weekend, USA, 1991–Present) – Queer Women’s Paradise and Professional Production
Overview: Affectionately known as “The Dinah,” this annual festival and weekend party in Palm Springs, California is the world’s largest event for lesbian and queer women (www.tourhero.com). Founded by Mariah Hanson in 1991, The Dinah started as a single night event alongside the Dinah Shore golf tournament and has since evolved into a multi-day festival of pool parties, concerts, comedy shows, and nightlife. Unlike Lilith Fair or Michfest, The Dinah is a for-profit, commercial festival – but it’s women-centered in its audience and leadership. Now spanning over 30 years, it has built an impressive legacy and community.
Lineup and Programming: The Dinah’s programming blends entertainment with social scene. It’s known for booking rising female pop and hip-hop artists before they break big (Lady Gaga, Katy Perry, and Lizzo all performed early in their careers). The lineup typically features female DJs, all-women rock bands, and queer female entertainers to match the predominantly LGBTQ+ female crowd. While not every performer is a woman, the majority are, and the festival explicitly spotlights talent from the lesbian/queer community. Hanson curates a mix of celebrity headliners and underground artists, giving the festival a reputation for both incredible entertainment and a party atmosphere. Beyond music, signature events like the “L Word” Pool Party and a celebrity softball game add to the fun, targeting pop culture that resonates with queer women.
Production Leadership and Crew: Mariah Hanson, a lesbian entrepreneur, has helmed The Dinah since inception, and her personal leadership has been key to its consistency. As a festival producer, Hanson ensures that women are in many top roles: from the event directors to the emcees on stage. However, The Dinah does collaborate with established event services for things like stage setup, hotel bookings, and security, meaning the crew is a mix of the founder’s core team (often female and LGBTQ+ staff) and hired vendors which may be co-ed. Still, Hanson’s company Club Skirts sets the tone and has often sought to employ women-run businesses for services where possible. Over the years, she has noted the challenges of being a woman business owner in a conservative town – early on, some Palm Springs venues were hesitant to host thousands of lesbians – but by building professional relationships and showcasing the economic benefit (The Dinah sells out entire hotels), she gained local support (www.outfrontmagazine.com). This represents an important aspect of crew and partner recruitment: educating and winning over stakeholders about the value of your festival’s demographic. Now, after decades of success, The Dinah operates like a well-oiled machine with experienced staff. Many crew return annually, drawn by the unique spirit of the event.
Safety and Inclusivity: Safety at The Dinah is a high priority, especially as it involves large gatherings of women partying (often with alcohol involved). The festival works closely with hotel security and local police/EMS to ensure a safe environment. Since the attendees are primarily women, the risk of male-on-female harassment, which plagues some mixed-gender festivals, is largely absent. This contributes to a more relaxed vibe – attendees often describe feeling “free” to be themselves without the gaze of straight men, which is a significant draw for the queer community. That said, the organizers still enforce conduct rules to address any inappropriate behavior (regardless of the perpetrator’s gender). In recent years, The Dinah has also emphasized inclusivity, explicitly welcoming transgender women and non-binary individuals, and training staff on inclusivity and respect. This is a notable evolution: it ensures the space remains safe and affirming for all who identify with the women’s community. An interesting aspect of The Dinah’s safety measures is the concept of “party with a purpose” – Hanson has partnered with organizations on-site (like LGBTQ centers and health services) to provide resources such as free HIV testing and consent education in casual, approachable ways during the event. Keeping a festival safe isn’t just about security guards; it’s also about the community’s mindset, and The Dinah fosters a very supportive one.
Crew Recruiting: Recruiting for a festival that doubles as a massive pool party can be challenging, but The Dinah leverages its reputation. Many crew members and volunteers are themselves part of the LGBTQ community or allies who care about the event’s mission. This personal investment translates into a passionate workforce. Hanson often speaks at industry conferences and LGBTQ events, encouraging young women interested in event production to get involved. By mentoring female talent in event management and giving them prominent roles at The Dinah, she’s contributed to increasing women’s visibility in the live events industry. A logistical note for crew: because events take place at multiple hotel venues (pools, ballrooms, etc.), coordination and communication skills are vital. Crew are cross-trained to handle quick venue transitions (e.g., flipping a pool deck from day party to concert stage by night). The camaraderie built among the largely female crew at The Dinah is frequently cited as a benefit – it’s a chance for women in events to network and gain experience in a supportive environment.
Media Framing: Over three decades, The Dinah has garnered a lot of media attention, especially in entertainment and LGBTQ press. It’s often framed as an empowering rite-of-passage event for queer women. Outlets like Curve, Autostraddle, and mainstream publications have celebrated it as “the lesbian Coachella” where attendees can see themselves reflected in the crowd and on stage. The presence of celebrities and reality TV stars (the cast of The L Word have been regular guests, and the festival even featured in episodes of the show) has given media hooks to highlight the festival’s cultural significance. Initially, local media in Palm Springs and some conservative commentators were wary – seeing it as an invasion of partiers – but the economic boost and lack of serious incidents helped shift the narrative. By now, The Dinah is considered a cornerstone event for Palm Springs, often covered in travel and lifestyle media as a must-see festival. Hanson’s strategy of giving back (donating a portion of proceeds to charities like GLAAD and local LGBTQ centers each year (www.tourhero.com)) also plays well in press releases, framing The Dinah not just as a party but as a community builder. The key media narrative is that The Dinah is fun, safe, and life-affirming – many women say the festival changed their lives by showing them a large, joyful queer community. This positive framing didn’t happen by accident; it was cultivated through consistent delivery of a quality experience and fostering goodwill with both media and the local city over many years.
Partner Fit: From a partnership standpoint, The Dinah had to align itself with both local hospitality partners and national sponsors that fit its audience. On the local side, partnering with hotels and the tourism bureau in Palm Springs was critical – these partners now see the festival as mutually beneficial, but it took outreach and education. Nationally, The Dinah’s sponsors tend to be alcohol brands, apparel companies, and services that target women or LGBTQ consumers. Hanson has been careful to choose sponsors that embrace diversity (for instance, brands that proudly market to LGBTQ audiences during Pride). The “fit” is evident when festival-goers see sponsor activations that actually interest them – like sampling a beverage or checking out a queer-owned business’s booth. This not only enhances the attendee experience but also makes sponsors eager to return. The Dinah’s longevity with certain partners underscores the value of alignment; when a sponsor’s values match the festival’s (e.g., empowerment, inclusion), both parties benefit from a loyal customer base. Festival organizers can learn from this: know your audience demographic deeply and seek partnerships that speak to them genuinely, rather than just whoever pays the most. In the long run, that builds a stronger brand.
Lessons: The Dinah illustrates how a festival can successfully serve a specific demographic (in this case women in the LGBTQ community) and build a thriving business around it. Key lessons include: the importance of working with your host city and venues to ensure a supportive environment (especially if your audience is marginalized elsewhere), the payoff of booking talent that reflects your attendees (diversity and representation on stage matter), and the value of evolving with the times – The Dinah has modernized its inclusivity and programming continually, which keeps it relevant to new generations. It’s also a case study in how to balance the “party” vibe with professionalism: just because an event is fun doesn’t mean it can’t be well-organized and strategically planned. By prioritizing safety, community values, and high production standards, The Dinah has turned what could have been a niche meetup into an internationally known festival brand.
Statement Festival (Sweden, 2018) – Safety Through Exclusion: Bold Experimentation
Overview: Sweden’s Statement Festival was a short-lived but influential experiment billed as “the world’s first major music festival for women, trans, and non-binary people only.” Conceived by Swedish comedian Emma Knyckare, it was a direct response to a spate of sexual assaults at other mixed-gender music festivals in Sweden. After a successful crowdfunding campaign, Statement’s inaugural edition took place in Gothenburg in the summer of 2018 (www.theguardian.com) (www.theguardian.com). Its premise was radical: create a temporary utopia where no cisgender men are allowed on the grounds – both on stage and in the audience – thereby eliminating the source of most harassment incidents.
Lineup and Crew: True to its mission, Statement Festival featured an all-female lineup and employed exclusively female and non-binary staff across all positions (www.independent.co.uk). From the artists and stage managers to the catering teams and security guards, everyone working or performing at Statement identified as a woman or non-binary. This required significant effort in crew recruiting. The organizers had to coordinate with vendors and partners (like sound companies and security firms) to fulfill the “women-only staff” request – a rare practice in the industry. According to Knyckare, they succeeded, even assembling an all-women security team, which is virtually unheard of at large events (www.vice.com). For many crew members, working Statement was an empowering experience, being surrounded solely by women colleagues in roles typically dominated by men. It demonstrated that with clear goals and persistence, a festival can recruit a crew that breaks traditional gender norms.
Childcare and Accessibility: Statement was a two-day event with a focus on evening concerts and DJ sets, so childcare services were not a central feature (unlike Michfest’s week-long camping format). However, the festival was open to attendees of all ages (except cisgender men), meaning mothers could bring children. The environment by design was meant to be family-friendly in the sense of no threatening behavior, although it primarily attracted adult women and non-binary attendees. Accessibility was also part of the conversation; by welcoming non-binary and trans individuals, Statement tried to be inclusive (aside from cis men) and reportedly had accessibility services for disabled festival-goers, though details were limited. The core idea was that everyone present belonged to a group that often feels unsafe or othered at mainstream festivals – thus, they would collectively find safety and community among themselves.
Safety Measures: Safety was the very foundation of Statement Festival. Banning cisgender men was a drastic measure to ensure no male predatory behavior would occur on site. Organizers still took additional safety steps: they implemented a specialized entry system (so they wouldn’t have to do invasive gender checks at the door) and trained the security team on how to handle any individuals who might try to disrupt the event (www.independent.co.uk). The atmosphere inside the festival was reported as extremely relaxed and joyful – many attendees commented on how they had never felt so secure at a crowded music event. Women were dancing freely, no one was leering at them, and there was a general sense of solidarity. In terms of incident response, Statement had support tents for anyone feeling uncomfortable or in need of help, and fortunately, there were no major security incidents reported. The festival’s success in creating a safe space was lauded by attendees and covered positively in some media as a watershed moment amid the #MeToo era. Nevertheless, the concept also drew criticism from some who felt it went too far.
Media Framing: From a media perspective, Statement Festival stirred much debate. Internationally, it grabbed headlines as the “man-free festival.” Some media outlets praised the event as an innovative answer to a serious safety problem (www.theguardian.com), highlighting quotes from women who felt liberated by the experience. However, other coverage was critical, framing the festival as discriminatory. Swedish authorities notably got involved after the event: the country’s Discrimination Ombudsman investigated and ruled that, while no individual man was turned away (tickets technically weren’t segregated by gender, and a few men who bought tickets simply chose not to attend), the festival’s marketing of a “cis-men free” experience violated discrimination laws (www.irishtimes.com). This gave some media an opportunity to run headlines like “Women-Only Festival Found Guilty of Discrimination,” which somewhat dampened the project’s idealistic narrative. Emma Knyckare defended the festival as a necessary reaction to a specific problem, not a permanent solution (www.independent.co.uk), and many commentators agreed that while imperfect, Statement had succeeded in highlighting the failure of mainstream festivals to protect women. The media framing thus landed in two camps: one viewing Statement as a bold, empowering protest event, and another viewing it as an over-the-top stunt. For festival producers, this case shows how important it is to manage the messaging of your event – a strong stance will bring strong opinions, so having a communication plan to handle controversy is key.
Partner and Sponsor Fit: Statement Festival’s partner strategy was closely watched. Because it had an overtly feminist and exclusionary stance, any sponsors had to be comfortable with that image. The festival was largely funded by crowdfunding and ticket sales, but it also engaged some progressive local businesses and organizations that advocate for gender equality. For instance, a Swedish brewery created a special beer for the festival, and some media companies with women leadership covered it supportively. On the flip side, more conservative or mainstream brands stayed away. The partner fit lesson here is that when your festival’s concept challenges societal norms, you may need to rely more on community support and smaller sponsors who align with your mission, rather than expecting broad corporate backing. Also, clear communication with any official partners (like the security firm they hired) was vital to ensure everyone understood and embraced the women-only staffing requirement (www.independent.co.uk).
Lessons: Statement Festival was a bold case study in prioritizing safety and values over maximum attendance or profit. The takeaway for other producers isn’t necessarily to replicate a “no men allowed” policy, but rather to innovate in addressing safety concerns. Statement’s radical approach got the world’s attention and perhaps nudged other festivals to work harder on anti-harassment measures (for example, several Swedish festivals introduced stronger consent campaigns and female-led security teams in its wake). The festival also teaches us about legal and perceptual pitfalls: know your local laws when designing inclusive or exclusive policies, and anticipate the public relations challenges that might come with breaking tradition. Even if a women-centered festival doesn’t go as far as Statement did, incorporating some policies like designated safe spaces, women-only camping sections, or hotlines to report harassment can greatly improve the female attendee experience. Finally, Statement exemplifies staying true to one’s mission – it was uncompromising in delivering the promise of a safe space, which left a lasting impression on those who attended.
WIMIN Festival (UK, 2023) – Integrating Equality into Every Aspect
Overview: WIMIN Festival is a new grassroots music festival launched in 2023 in Liverpool, England (held at the Lock & Quay in Bootle). It was heralded as a “movement” as much as a festival – designed to showcase an all-female lineup and run with an all-female production crew (www.musicmusingsandsuch.com) (www.musicmusingsandsuch.com). Unlike Statement Festival, WIMIN did not exclude men from the audience; everyone was welcome to attend, but all performers and crew leadership were women. This approach positions WIMIN as a model for normalization of women’s representation in festivals rather than creating a separatist space. Organized by the non-profit Scrapyard Studios CIC, the festival emerged from a community initiative aimed at boosting women in the music industry.
Lineup and Crew: True to its name, WIMIN Festival’s first edition featured women-fronted acts across genres – from pop and indie rock to DJs – with Katy J Pearson headlining. By deliberately booking talented women artists (both local and national), the festival made a statement that a high-quality bill doesn’t need to resort to an all-male lineup. On the crew side, WIMIN took the rare step of assembling a female-driven technical and management team (www.musicmusingsandsuch.com). This included stage managers, sound engineers, lighting techs, and production managers who were women – roles that at other festivals are often filled by men. The organizers worked with partners around Merseyside to find qualified women for these jobs, effectively creating opportunities for female professionals who often face barriers in the events industry. It helped that WIMIN was supported by a non-profit ethos; they could rally volunteers and collaborators around a shared social goal. The festival also offered mentorship to younger women in the community, letting them shadow the crew and gain experience. The successful execution of WIMIN’s inaugural event demonstrated that with intention and outreach, it’s possible to recruit a predominantly female crew in live music. It likely required extra effort (since the pool of veteran women techs is smaller), but it proved the talent is out there.
Childcare and Safety: As a one-day outdoor festival, WIMIN made efforts to be family-friendly and safe for all. The organizers provided discounted tickets for teenagers to encourage young girls to attend live music and see inspiring role models on stage (www.musicmusingsandsuch.com). While there wasn’t formal childcare on site, the daytime programming and inclusive atmosphere meant parents could bring children. There were plenty of female security staff and volunteers visible, making the crowd feel at ease – an environment where women and girls didn’t have to worry about harassment. Indeed, many local festival-goers commented on feeling a distinct positive vibe at WIMIN, perhaps because seeing women running every aspect instilled a sense of confidence and comfort. The festival grounds included clear signage about zero tolerance for harassment and ample staff to help if anyone felt uncomfortable. Being a new event, WIMIN was relatively small (a few thousand attendees), which also made it easier to maintain oversight and a safe environment. As WIMIN grows, it plans to keep safety central, possibly drawing on practices from other women-led festivals like dedicated safe-zones or partnerships with organizations such as Safe Gigs for Women.
Media Framing: WIMIN Festival’s launch garnered media attention in the UK music press and local news, framing it as a pioneering response to gender inequality in music. The narrative was largely positive – articles highlighted that in an industry where women are still underrepresented on festival stages, an event like WIMIN is both necessary and refreshing. Quotes from the festival’s promoters emphasized that they were not anti-men, but pro-women, aiming to “foster talent and creativity of women” and address the challenges female professionals face (www.musicmusingsandsuch.com) (www.musicmusingsandsuch.com). This distinction helped the media coverage focus on empowerment rather than exclusion. Some national outlets drew comparisons to historical events like Lilith Fair and Ladyfest, suggesting WIMIN is carrying the torch forward for a new generation. Social media buzz around the festival was also strong, with many female artists and industry figures applauding the concept. One challenge was selling tickets beyond the choir of already socially conscious attendees – marketing had to convince general music fans that WIMIN was simply a great festival (not just a political statement). The media’s role in this was key; thankfully, reviews after the event praised not only the mission but the execution and entertainment value of the festival. If WIMIN continues, it will need to maintain that balance in media messaging: highlighting its unique purpose while proving it’s as fun and well-produced as any other festival.
Partner and Sponsor Fit: As a community-rooted festival, WIMIN drew support from partners that share its values. This included local community funds, arts councils, and female-focused organizations. For example, a regional women-in-music network helped promote the event, and local businesses owned by women provided services like catering and staging at favorable rates. These partnerships were natural fits – everyone involved had a stake in the festival’s success beyond just commercial interest. WIMIN also had to engage the venue (a pub and its surrounding parkland) and the city council, ensuring they understood the positive impact of an event championing women. That groundwork paid off in getting permissions and possibly funding. Notably, any potential sponsors that might undermine the festival’s image (for instance, brands accused of sexist advertising) were avoided. Early alignment with well-regarded partners gave WIMIN credibility. Going forward, if larger corporate sponsors become interested, the festival will likely vet them against its mission. The lesson on partner fit here is clear: especially in a festival’s infancy, who you team up with can define public perception. Partners that enhance your mission (like a non-profit that empowers girls in music, or a company known for supporting diversity) are worth far more than those who simply offer money but no authentic connection to your values.
Lessons: WIMIN Festival may be new, but it encapsulates many best practices that emerging festival producers can emulate. It shows the power of starting with a clear mission – in this case, gender equality – and infusing that into every layer of the event, from lineup to crew. In practical terms, it teaches that achieving gender balance requires proactive effort: you might have to search harder and invest in training to assemble a representative team, but the payoff is a festival distinguished by its principles and the enthusiastic support of those who share them. WIMIN’s approach also suggests a path to inclusivity that doesn’t alienate allies; by welcoming all attendees, it invites broader buy-in while still accomplishing the goal of showcasing women. For veteran festival organizers, WIMIN is a call to action to examine their own operations – are there talented women being overlooked for headliner slots or production roles at your events? The answer, as WIMIN affirms, is to open those opportunities intentionally. Furthermore, as a case study in media and partnerships, WIMIN demonstrates that if you position your festival as part of a bigger positive change, you can attract attention and collaborators that money alone can’t buy.
Key Takeaways for Festival Producers
- Prioritize Diverse Leadership: Festivals like Lilith Fair and WIMIN show that having women in key decision-making roles (from booking to technical production) leads to more inclusive and successful events. Proactively recruit and mentor female talent for your crew and leadership positions. A diverse production team will not only inspire others but also bring fresh perspectives that enhance the festival experience.
- Representation on Stage Matters: Audiences notice who gets the spotlight. Committing to gender-balanced or women-led lineups can set your festival apart and correct industry imbalances. The success of women-centered festivals proves there is a hungry market for female artists. Don’t fall for the myth that “women don’t draw” – Lilith Fair’s huge attendance (www.vanityfair.com) and The Dinah’s sold-out shows demonstrate the opposite. Book authentically, and the fans will follow.
- Childcare and Family Inclusion: If you want to welcome a wider audience (including parents), consider providing childcare options or family-friendly zones. Michigan Womyn’s Music Festival’s comprehensive childcare system (www.michfest.com) enabled many mothers to attend who otherwise couldn’t. Even smaller steps, like offering free entry for young kids or scheduling daytime programming, can make a difference. A festival that accommodates families can tap into an often underserved demographic and build exceptional loyalty.
- Forge a Safe Festival Environment: Safety should be a core design principle, not an afterthought. Women-centric festivals have pioneered approaches like all-female security teams (www.vice.com), “safe space” policies, better lighting, and clearly advertised zero-tolerance rules for harassment. Implementing these, regardless of your festival’s theme, will make your event more welcoming – not just for women, but for everyone. Encourage a culture of active bystanders and provide training for staff to handle issues discreetly and compassionately.
- Align Partnerships with Values: The festivals studied succeeded when their partners (sponsors, vendors, host communities) matched their mission. Whether it was Lilith Fair raising funds for women’s charities or The Dinah partnering with LGBTQ-friendly businesses, alignment builds credibility. Choose sponsors who support your vision and speak to your audience’s values. A well-aligned partner can enhance your festival’s brand, while a bad fit can generate criticism or distrust.
- Anticipate and Manage Media Narratives: How the media frames your festival can influence its reputation. Be ready to tell your story – why your festival’s focus (be it women-led lineups or any other mission) matters, and how it improves the event. Counteract skeptics with facts and human stories. For example, highlight testimonials of attendees who felt empowered and safe at your festival. If your concept is unconventional (like Statement’s no-men policy), prepare a PR strategy to handle controversy and clearly communicate the reasons. Authenticity and transparency go a long way in winning positive coverage.
- Learn from Failures and Feedback: Even trailblazing festivals encounter challenges – Lilith Fair’s second run faltered, Michfest faced criticism over inclusion, Statement had legal pushback. What sets great producers apart is the willingness to adapt. Solicit feedback from your attendees and crew, especially women and marginalized groups, about how to improve. Stay agile: update your policies to be more inclusive, refine logistics, and respond to the changing needs of your audience. This continuous improvement mindset will keep your festival relevant and resilient.
- Build Community and Legacy: The most beloved women-centered festivals created a sense of community that outlasts the event itself. By offering workshops, volunteer opportunities, or fundraising for causes, you turn a festival from a one-off party into a movement. This not only inspires people to return year after year, it also attracts volunteers and staff who are personally invested. A passionate community is your festival’s greatest asset – they will become ambassadors who promote and defend the event in public forums and media.
- Small Changes at Big Festivals: Even if you’re producing a mainstream large-scale festival that isn’t exclusively women-centered, you can apply these lessons. Work towards parity in your lineup booking (many major festivals have signed pledges to reach 50/50 gender splits). Ensure your marketing and on-site experience speak to women attendees – for instance, provide free water, sanitary products, and clearly marked help points. Hire and promote more women in your production crews; their perspectives will help you catch blind spots in planning. These changes not only make your festival more equitable, they often improve overall attendee satisfaction.
- Global Perspective: Women-led festival initiatives are happening worldwide – from Europe’s safety-focused experiments to North America’s touring fests, and community events in Asia and Australia. Keeping an eye on these global case studies can spark ideas for your own festival. What works in one culture may need tweaking in another, but the universal thread is that inclusion and creativity go hand in hand. Inspiration can be drawn from anywhere – a women’s film festival in India or a femme-powered art fair in New Zealand might have strategies worth emulating. Stay connected with the international festival producer community to exchange insights on making events better for everyone.
By studying and implementing the practices from women-centered festivals, the next generation of festival organizers can create richer, more inclusive, and ultimately more successful events. The future of festivals is female – not in the sense of excluding men, but in embracing the full spectrum of talent, perspective, and audience that has long been underrepresented. A truly world-class festival in the modern era is one where all participants feel safe, seen, and celebrated.
25th August 2025