Women to the Front!
The long journey of women in music production
Women have had a significant influence on the electronic music scene, yet they remain significantly underrepresented in production. A look at our Deep Dive into the history of dance music shows that the pioneers who are celebrated as key trailblazers are almost exclusively men. Women have been part of the scene from the beginning – as vocalists, songwriters or DJs – but they are still hardly represented in the studios where tracks are created. For decades, female producers have remained underrepresented, marginalised or invisible. A recent study by the USC Annenberg School shows that in 2024, women accounted for only 5.9% of producers in popular music – a barely noticeable increase from 2.4% in 2012. Even more dramatically, 93.3% of successful songs in the last 13 years were created without a single female producer. This clearly shows that this is a systemic problem, making it difficult or impossible for women to access music production. Why is this the case? Why do we need more female perspectives in production? And why is this only now slowly beginning to change?
Structural barriers: whoever produces decides what is heard
Music production means control: those who produce set the tone and determine which sounds dominate, which artists become visible and who is considered a tastemaker. When this creative decision-making process is dominated almost exclusively by men, other perspectives are left out. A key reason for this imbalance lies in the structural organisation of the music industry. For a long time, studios were physical spaces of exclusivity where men formed their networks. Historically, many women had no access to these places, whether due to a lack of role models, financial barriers or the absence of support structures that specifically helped female producers. Digitalisation has slightly reduced these barriers – software and home studios allow for a more independent entry into the industry – but networks and representation remain crucial, and there is still a massive imbalance in this area.
‘Women and technology?’ How stereotypes influence access
The perception that music production requires technical knowledge has played a crucial role in excluding women from the field. Historically, technology has been considered a ‘male’ field, while women have primarily appeared as performers. The claim that music production is ‘technically complicated’ has been used as an argument to keep women away from the controls, while male producers have been able to present themselves as DIY geniuses. Today, digital tools and production tutorials are more accessible than ever, and the argument that music production is a purely technical discipline is losing ground. Nevertheless, the cliché persists. The problem is not only the handling of technology, but also the lack of access to support systems, mentors and visible role models who show that producing is not an exclusively male field.
The social dimension: Why diverse music production is important
Music reflects society, or at least it should. But a male-dominated production environment means that it is primarily male perspectives that influence music. This is not just about the quantity of female producers, but about the quality of perspectives that are lost as a result. This affects not only women, but also queer artists, BIPOC, and artists from non-Western contexts, for example. A diverse production landscape means not only more equality, but also musical innovation – new soundscapes, new narratives, new impulses that enrich the scene. Electronic music thrives on diversity, but as long as this diversity is not also anchored in the production structures, it remains a vague assertion.
The long road to visibility
Although women are more visible than ever in the commercial music sector, their influence behind the scenes – especially in the field of production – remains limited. And this is precisely where the problem lies: visibility on stage alone is not enough if the creative processes behind it continue to be one-sided.
The good news? More and more initiatives are committed to specifically promoting female producers and facilitating their access to the scene. Networks such as SheSaid.So, Female:Pressure and Keychange create visibility, exchange and support. Clubs and festivals are striving for more diverse line-ups, and digital platforms offer female artists the opportunity to release their music independently – beyond the traditional gatekeepers. Mentoring programmes are also gaining in importance: they enable not only technical learning, but also mutual empowerment in safe spaces. Nevertheless, structural barriers remain. Much is changing on the surface, but deeper power relations need time to truly shift.
What remains, however, are female producers who confidently cause a stir. Not as exceptions, but as part of a new self-image within the electronic music scene. The path to equality is not complete, but it is noticeably in motion. And with each new perspective, diversity grows, both artistically and socially.
Who are the women helping to shape this change?
They exist: female producers who not only make music, but who have actively shaped and continue to shape the scene with their sound and their work. They show that women are indispensable not only in the studio, but also as visionary forces in electronic music. Their names may not always appear first, but their influence is unmistakable.
Below are nine female artists who are worth listening to more closely:
These women are representative of many others. The question is not whether there are female producers, but why so many of them have been overlooked for so long. And what needs to change so that their names are mentioned just as naturally as those of their male colleagues in the future. Enjoy listening!
Suzanne Ciani is considered one of the most influential pioneers of electronic music. In the 1970s, she experimented with the Buchla synthesiser and shaped genres such as ambient and experimental electronic music with her visionary soundscapes. Her first album, ‘Seven Waves’ (1982), was particularly successful in Japan. Despite her influence, her work was not taken seriously for a long time and often ended up being used in sound design for advertising and film. Today, her pioneering influence is recognised and her innovative synthesiser sounds have inspired generations of artists.
K-HAND was a techno pioneer and one of the few women to make her mark on the male-dominated Detroit techno scene. She founded her own label, Acacia Records, back in 1990. This was a necessary step to remain independent while male colleagues such as Jeff Mills and Robert Hood gained international recognition more quickly. Her uncompromising mix of Detroit techno and Chicago house had a lasting impact on the scene, which she impressively demonstrated with tracks such as ‘Remember Me’ (1995). Nevertheless, her name remained in the shadows for a long time until she was officially honoured by the city of Detroit as the ‘First Lady of Detroit Techno’ in 2017.
Tama Sumo and Lakuti are an influential DJ and producer duo who have carved out a permanent place for themselves in Berlin’s underground scene with their deep house, techno and percussion-heavy sounds. Both started out in the early 90s and release remixes and tracks together, including on Ostgut Ton, and also use their music to combine club culture with a conscious, political stance. While Tama Sumo showcases her flair for emotional, genre-spanning sets as a resident at Panorama Bar, Lakuti brings new artists to the scene with Uzuri Recordings. Their productions, including the remix of ‘Fertile Garden (Emerge)’ (2022), reflect their deep musical sensibility and combine organic rhythms with raw dancefloor elements.
Stacey ‘Hotwaxx’ Hale – better known to many as ‘The Godmother of House’ – is considered one of the first female DJs in Detroit and is a defining figure in the US house scene. Since the late 1980s, she has been known for her powerful sets, in which she playfully combines house, techno, funk and Motown soul with live instruments. As a producer and performer, she is also active in projects such as Nyumba Muziki and Black Women Rock, and her more recent releases, such as the remix U Name It (2018) and Poet-itcal Truths (2025), demonstrate her strong connection to the original Detroit house sound. Through her commitment, Hale has encouraged generations of women to forge their own paths in electronic music.
rRoxymore is a French producer and DJ who reinterprets electronic music in her own unique way with her experimental approach. Her tracks combine contrasting moods: warm and cold, organic and synthetic, deliberately breaking with conventional norms. Since her debut ‘Wheel of Fortune’ (2012) on the label Human Level, she has been constantly developing her sound, which is permeated by restless grooves, abstract sounds and unusual instrumentation. With the EP ‘Precarious/Precious’ and later releases on labels such as Don’t Be Afraid and Smalltown Supersound, she has become an important voice in the electronic dance music scene.
Paula Tape combines house with Latin American rhythms, percussion and Balearic beats. Since her breakthrough with ‘Agua Congas’ (2018), she has developed an organic, groove-oriented sound that combines tropical influences with the island aesthetic of Balearic house. Her latest EP, ‘Acid Latino’ (2024), highlights this style in particular, with hypnotic TB-303 basslines meeting traditional Latin American drums.
Ugandan producer Jenifa Mayanja is a defining force in the black underground house scene. With soulful, jazzy beats and deep Afro rhythms, she stands for a warm, deep sound that reflects her Ugandan roots. An example of her distinctive style is the album ‘Women Walking in the Shadow’ (2013), which combines electronic jazz house with calm vocals. Through her labels Bu-Mako Recordings and Sound Warrior Records, she promotes the visibility of female producers and also works actively as a mentor for aspiring producers and DJs.
Japanese producer and sound designer Kyoka combines field recordings[1], modular synthesizers and drum machines in her productions, creating a unique techno sound that is currently growing in popularity. Her album ‘IS (Is Superpowered)’(2014), released on the Raster-Noton label, brought her to the international scene as an innovative sound researcher, followed by the EP SH (2016), which underscores her dynamic approach to rhythm and structure with tracks such as ‘Hovering’. With releases such as ‘Spoiled 130BPM’ (2020), she continues to explore the interface between club music and avant-garde sound design.
[1] Recordings of ambient sounds
Asmara is an American producer and sound designer with Eritrean roots. As one half of the duo Nguzunguzu and as a solo artist, she combines futuristic club sounds with influences from R&B, rap and experimental electronica. Her solo EP ‘Lee Ting Go’ was released in 2017 on the label Fade to Mind, known for its innovative, bass-heavy productions. She developed her experimental approach to sound design while studying at the School of the Art Institute of Chicago, where she explored improvisation and sound experimentation. In addition to her productions, she has also toured as a DJ for M.I.A. and is closely connected to the queer and Latinx-influenced club scene in Los Angeles.
Cover image: Suzanne Ciani
Suzanne Ciani at KQED in August 2024.jpg by binksternet, CC0. 1.0
