Building an Inclusive Country Music Festival
Inclusive Country: Women, Black, Latino, and Indigenous Voices – Modern country music festivals are evolving to celebrate a broader range of voices. In an industry long dominated by white male artists, today’s festival producers are setting out to ensure their events reflect the diversity of the genre’s talent and its fan base. This means not only changing who appears on stage, but also transforming backstage culture, staffing, and community engagement. The goal is clear: make inclusion a core practice, not just a talking point, so that country music festivals truly welcome everyone.
Set Representation Goals – And Be Accountable
The first step toward inclusion is to set clear representation goals for both festival lineups and staff. Many progressive festivals now commit to specific targets, such as a minimum percentage of women or artists of colour in the lineup. For example, after watching female artist numbers stagnate for years, dozens of international festivals joined the Keychange pledge to reach 50/50 gender-balanced lineups by 2022 (www.npr.org). As Angela Dorgan, an organiser behind the initiative, explained: “Half our audience is female, so it makes sense that that should be reflected on stage too.” (www.npr.org) This logic resonates in country music: if half the fans are women, why shouldn’t half the performers be women as well?
Broadening representation isn’t just about gender. Country festivals are also aiming to include more Black, Latino, Indigenous, and other underrepresented artists in genres like Americana, bluegrass, and country pop. Setting a goal, for instance, that each stage or each day’s bill features diverse voices forces the booking team to actively seek out talent beyond the usual headliners. Some events even establish diversity quotas for their crew and vendors – ensuring that hiring behind the scenes includes women, people of colour, and local community members in meaningful roles.
Once goals are set, transparency is key. Publicly reporting the diversity breakdown of a festival lineup and crew holds organizers accountable and builds trust with audiences. In the folk and country scene, initiatives like Ireland’s FairPlé have published regular “lineup report cards,” noting the percentage of women artists and headliners at major festivals (www.fairple.com). Such reports shine a light on progress (or lack thereof). An honest yearly diversity audit for a country festival can similarly highlight improvements and pinpoint areas needing work. By sharing these metrics openly, a festival signals that inclusion isn’t just lip service – it’s measured, tracked, and taken seriously.
Balance the Lineup from Top to Bottom
Achieving inclusion means rethinking how artists are scheduled and billed. It’s not enough to sprinkle a few diverse acts low on the poster – true inclusion requires equitable spotlight at every level, especially the top. That’s why festival producers are pushing for headliner parity. If a country festival has, say, four headline slots over a weekend, it should strive for two of those to feature women or artists of colour. This was almost unheard of a decade ago: for instance, the 2016 CMA Music Festival’s main stage lineup included only 18% women (savingcountrymusic.com), with those few female stars mostly relegated to early, less-crowded time slots (savingcountrymusic.com). Today, there’s growing pressure to ensure that women and minority artists are not just present but closing out the night in marquee spots.
Some festival organizers have led by example. In 2024, the Key Western Fest in Florida made headlines by booking an all-female lineup – featuring legends like Wynonna Judd and Tanya Tucker alongside newer stars like Mickey Guyton (savingcountrymusic.com). This bold move proved that a world-class country festival can be built entirely around women artists. On the flip side, Key Western’s experiment also highlighted challenges: despite the stellar talent, ticket sales reached only about 20% of venue capacity (savingcountrymusic.com). The low turnout, which festival owner Kyle Carter partly attributed to a lack of media coverage and industry support, is a reminder that fans and promoters need to actively champion these inclusive lineups if they are to succeed. The lesson? Booking diverse headliners is vital, but it must be paired with strong promotion and fan education so that inclusive programming is appreciated rather than overlooked.
Apart from headliners, inclusivity should extend to the “under-card” acts and set times. Festival programmers can reserve premium early-evening slots for emerging women, Black, Latino, or Indigenous artists – not just the midday lull. Crucially, give these discovery acts the full production treatment. Too often, smaller-font artists (who are frequently from underrepresented groups) get stuck with minimal lighting, poorer sound, or a barren stage setup during daytime sets. Instead, treat every performer’s show as a main event: provide top-notch sound engineering, professional lighting, big video screens, and an introduction by the MC that tells the crowd why this artist matters. When an up-and-coming Indigenous country singer or a bilingual country band walks on stage at 2 PM, and they have great audio and visuals supporting them, the audience feels the excitement and the artists get a chance to shine on equal footing. This not only creates a better experience for fans but also signals to the performers that the festival respects their craft. It’s an investment in the future – today’s afternoon stage newcomers may be tomorrow’s headliners if given a level playing field.
Partner with Communities and Open Pathways
Inclusion works best as a collaborative effort. Festival producers are increasingly partnering with community organizations, cultural institutions, and advocacy groups to source talent and provide context for underrepresented voices. These partnerships can take many forms, all of which strengthen the festival’s ties to the communities it serves.
One effective strategy is to co-curate stages or showcases with organisations dedicated to uplifting marginalised artists. A great example comes from Canada: Dauphin’s Countryfest (the nation’s longest-running country music festival) teamed up with the Indigenous Music Development Program to create a special “Nipiy (Summer) Showcase” of First Nations and Métis artists (wcmbnews.com) (wcmbnews.com). Over the festival weekend, Indigenous musicians and even dance groups performed across several stages, culminating in a prominent Main Stage appearance. Festival general manager Kamryn Winters noted that giving Indigenous artists a platform was not only the right thing to do, but it also treated Countryfest audiences to world-class talent they might not otherwise discover (wcmbnews.com). By partnering with Manitoba’s Indigenous Music Program, the festival gained access to a network of skilled Indigenous performers, as well as guidance on how to present them respectfully – including using proper land acknowledgements and explaining the stories behind certain songs or dances. The result is a richer cultural experience for attendees and a meaningful opportunity for the artists.
Similarly, Black and Latino artists in country music are finding support through dedicated networks that festivals can connect with. In the USA, initiatives like the Black Opry have formed to create community for Black country, blues, and Americana musicians. Recognizing the value of such grassroots movements, the storied Newport Folk Festival invited Black Opry founder Holly G to curate an official set at its 2022 event (nodepression.org). She brought multiple Black country and roots artists to the Newport stage and was given full creative control to showcase their talents (nodepression.org). This kind of collaboration can be inspiring for country festivals: by handing over the reins for one stage or showcase to a group that lives and breathes a particular community, organizers demonstrate trust and amplify voices in an authentic way. Fans also respond positively – they get to enjoy fresh faces and musical styles enriched by personal stories and cultural heritage.
Partnerships can go beyond programming. Festivals are working with community groups on outreach and mentorship programs too. Some country festivals partner with local music schools, women-in-music nonprofits, or minority-run talent agencies to identify promising new artists. Offering festival internships or shadowing opportunities to young people from underrepresented backgrounds is another path – imagine a local Latina audio engineering student getting to assist the sound crew, or a Native American college student interning in festival management. These pathways help build a more diverse pipeline of talent both on stage and behind the scenes. They also show the community that the festival isn’t just parachuting in diverse acts once a year, but actively investing in nurturing diversity year-round.
To make the most of these partnerships, it’s important to provide context to the audience. Work with cultural advisors or the artists themselves to tell the stories behind their music. This could mean adding a note in the festival program about an Indigenous singer’s heritage and influences, or having a representative from a community organization briefly speak on stage to introduce a showcase. When fans understand why a certain act is significant – for example, that a band is blending country music with Latino traditions from the Southwest, or that a performer is carrying on a legacy that was historically sidelined – it builds appreciation. The festival becomes not just entertainment, but an educational and culturally enriching experience.
Train Your Team in Bias & Anti-Harassment
Inclusivity on paper can falter if the festival environment isn’t truly welcoming. That’s why leading festivals ensure their entire team – from top managers to volunteers and security staff – is trained in bias awareness and anti-harassment practices. Crew training is an often overlooked yet essential component of making underrepresented artists and fans feel safe and valued.
Start with bias training and cultural sensitivity workshops for staff. Everyone should understand the basics of unconscious bias – for instance, not assuming the sound engineer must be a man, or that the country-rock band must be white. Simple awareness can prevent microaggressions. If a Black woman artist shows up at the gate, staff should not automatically redirect her to “general admission” instead of artist check-in. If an indigenous crew member is working backstage, colleagues should treat them with the same respect any other professional deserves. Training helps staff recognize and correct subtle prejudices in how they address people or make decisions. The outcome is a crew that interacts respectfully with all artists, crew, and attendees, regardless of gender or ethnicity.
Anti-harassment training is equally crucial, especially given the festival context of crowds, partying, and long hours. Unfortunately, country music events (like many music festivals) have seen incidents of harassment – whether it’s a female fan being catcalled or an artist receiving inappropriate comments. Festival organizers must set clear policies that harassment will not be tolerated. Security and staff need protocols for responding if they witness racist or sexist behavior in the crowd. This could involve anything from ejecting offending attendees, to providing assistance to someone who’s been harassed, to alerting law enforcement if necessary. Proactive measures are important too: some festivals establish easily accessible reporting channels, like a text line or help booth, where attendees can quickly get help for any uncomfortable situation.
Many events also now post a Festival Code of Conduct visibly around the venue and online, stating that the festival is a discrimination-free zone. But a policy is only as good as the people enforcing it. That’s why regular training sessions or briefings before the festival each day can remind the team to stay vigilant and supportive. For example, staff and volunteers can be taught bystander intervention techniques – how to safely intervene or get help if they see harassment happening. They can also learn about culturally specific needs: e.g., understanding that a Native American performer may need a private space for a pre-show ritual, or that some attendees might prefer to be addressed by gender-neutral terms. These details, when respected, create an atmosphere of true hospitality and inclusion.
Importantly, festival leadership should lead by example in zero-tolerance for hate or bias. If crew members or even artists engage in discriminatory behavior (such as a performer making a sexist joke on stage), organizers need to address it, perhaps by warnings or not inviting them back. This shows everyone involved that inclusivity is a core value, not just a PR line. When the whole festival team shares that mindset, it translates into a safer, happier experience for performers and attendees alike.
Inclusion Is a Mindset, Not a Marketing Slogan
Ultimately, inclusion is both programming and practice. It’s about who is on your stages and how you run your event day-to-day. Festival producers should approach this as an ongoing mindset – a lens through which every decision is made – rather than a one-time project or a box to tick off.
In practical terms, this means continuously seeking feedback and learning. Engage with the communities you’re trying to include: Are women artists feeling truly heard and given prime opportunities? Do Black or Latino fans feel comfortable and represented when they attend your country festival? What do Indigenous community leaders suggest for improving cultural sensitivity on site? Create channels for that dialogue, such as post-event surveys that include questions about inclusivity, or even forming a small advisory board with members from these groups to consult on festival plans. Showing that you’re listening and adapting builds credibility and trust.
It also helps to celebrate the wins that come from inclusive practices. For instance, if booking a diverse lineup led to new sponsors or a bump in ticket sales from a broader audience demographic, share that story internally and externally. It reinforces the message that inclusion is not just morally right, but it’s bringing positive energy and growth to the festival. Similarly, highlight the creative wins – maybe the most talked-about performance was a breakout Black country singer’s afternoon set, or a collaboration onstage between a country star and an Indigenous fiddle group brought the house down. These moments can be used in marketing for the next year’s festival, showcasing the festival’s diversity as a strength that makes it stand out in a crowded market.
One important note is to avoid tokenism. Attendees and artists can tell when a festival is just checking a diversity box (“we booked one female act, that’s done”). True inclusion comes from a genuine appreciation of these artists and communities. It’s better to start with a modest, honest effort – for example, adding a dedicated showcase for Latino country fusion artists and fully supporting it – than to hastily book a few diverse names without proper planning or respect. Authenticity matters: if the festival’s heart is in it, the audience will know and respond.
By weaving inclusion into everything – from the artists on the lineup, to the vendors selling food (perhaps inviting local minority-owned businesses), to the social media marketing (using images and language that embrace diversity), to the on-site experience – a country music festival becomes not just a series of concerts, but a platform for unity. It shows that country music, with its roots in various cultures and its global fanbase, truly has room for all. And in doing so, it future-proofs itself: an inclusive festival is more likely to stay relevant, innovative, and emotionally resonant with new generations of fans.
Key Takeaways
- Set and Share Diversity Goals: Establish clear targets for representation in your lineup and crew (gender, race, etc.), and report your progress publicly. This accountability pushes real change and shows your commitment.
- Equal Spotlight for All: Strive for gender parity and racial diversity among headliners and main acts. Don’t relegate women or minority artists to early, low-attendance slots – give them prime stage times and always provide full production quality, even for new artists on early slots, so every performer can shine.
- Community Partnerships: Work with organisations and communities that uplift underrepresented talent (women in music groups, Black or Latino country collectives, Indigenous cultural programs). Co-curate showcases or stages with them, create mentorship pipelines, and add cultural context to performances. These partners can help you find great talent and present them authentically.
- Train Your Team: Implement bias and anti-harassment training for staff and volunteers. Make sure everyone on the team is prepared to uphold a safe, respectful environment. Enforce zero tolerance for discrimination. A festival’s inclusivity is only as strong as the behavior of the people running it.
- Inclusion as Daily Practice: Treat inclusion as a guiding principle in all decisions – from bookings to marketing to on-site customer service. It’s not just about having diverse faces on the poster, but about integrating diversity and respect into the festival’s culture. Continuously seek feedback from artists and attendees to improve and ensure your festival genuinely welcomes everyone.
By embracing these practices, country music festivals can honour the full spectrum of talent and fans that make the genre special. Inclusive festivals not only do right by their communities – they create unforgettable events where all attendees can see themselves reflected in the music and feel they truly belong.
17th September 2025