In July, an impressive milestone was achieved in the music industry as six remarkable female artists — Taylor Swift, Gracie Abrams, Billie Eilish, Chappell Roan, Ariana Grande, and Charli XCX — made their way into the top 10 of the Billboard 200. This was the first instance of such a significant female presence in the top tier since 2019. Furthermore, when the Grammy nominations were revealed on November 8, six out of eight nominations for the prestigious categories of record, album, and song of the year were led by women. This marks the second consecutive year where women have dominated these major categories, clearly indicating that female artists are taking charge in the pop music landscape of 2024.

However, despite this surge of female talent on the charts, the same cannot be said for the corporate structure behind these superstars. Women have been exiting influential roles in significant numbers within the major music companies, leading to a sense of uncertainty among those advocating for greater inclusion and influence in the upper echelons of the industry. At the start of this year, four labels under the three major music companies — Universal Music Group (UMG), Sony Music, and Warner Music Group (WMG) — boasted women in CEO positions: Michelle Jubelirer of Capitol Music Group, Julie Greenwald of Atlantic Music Group, Sylvia Rhone of Epic Records, and Cindy Mabe of UMG Nashville. Sadly, by November, only Rhone remained, highlighting a troubling trend as restructurings at these major labels have seen many women depart their high-profile positions.

Despite the unsettling developments for women executives, there are glimmers of hope. Cindy Mabe continues to lead UMG Nashville successfully, and Taylor Lindsey, previously the vice president of A&R, is set to ascend to the role of chairman/CEO at Sony Music Nashville at the beginning of 2025. Nevertheless, these high-profile exits have understandably shaken the confidence of many women in the music executive community. A prominent female industry executive expressed the sentiment: “It makes them nervous because individuals like Julie Greenwald were known for their assertiveness and leadership. The underlying message is clear: if someone like Julie can be let go, then anyone’s job could be at risk.”

Currently, the leadership of the largest streaming services, promotional companies, and major agencies remains predominantly male. This gender imbalance extends to many distribution companies as well. While the publishing sector and the Nashville scene show improved representation of women in leadership roles, the broader music industry remains heavily male-dominated at the highest levels. The trend is evident, with most of the leading independent labels also being managed by men, which highlights the ongoing challenges women face in achieving parity in top positions.

Many of the women previously holding prominent roles, including Jubelirer, Greenwald, Rhone, Mabe, and former Motown CEO/chair Ethiopia Habtemariam, who vacated her position at the close of 2022 without a successor, either chose not to comment or did not respond to inquiries regarding this situation. Their silence speaks volumes about the challenges and uncertainties that women are currently navigating in the music industry.

Despite the various factors contributing to these departures, the overall decline in the representation of women in music’s upper management signifies a regression, particularly during a decade that began with the Black Lives Matter movement and promises from major music companies to prioritize diversity, equity, and inclusion. Andreea Gleeson, CEO of TuneCore, succinctly states, “There’s not a full effort being made and that’s really dangerous. To drive meaningful change in the diversity of your company, you need to be committed to it. That starts at the top.”

Reflecting on the recent exodus of women from leadership roles, Natalie Prospere, founder and CEO of Friends Only — a label, publishing, and live events company — expressed her lack of surprise at the trend. “I anticipated this outcome. The industry seems more focused on performative gestures rather than substantive actions, exemplified by the trend of simply posting a black square on social media.”

While many women continue to hold significant roles as COOs, presidents, GMs, and department heads across the major label system, the actual CEO positions remain predominantly occupied by white men. Recent findings from the fourth annual “Be The Change” women’s equality in music study conducted by Believe, Tunecore, and MIDiA Research indicate that in 2024, 49% of women in the industry still perceive it as “generally discriminative” based on gender. Furthermore, the study revealed that women in music face a disproportionate likelihood of discovering pay disparities in comparison to their male counterparts in similar roles.

One former female label executive voiced a poignant concern: “When you witness the scarcity of female executives in the music industry, coupled with the treatment they receive, how can young women entering this field not question their own potential for success?” This sentiment underscores the urgent need for systemic change and support for women aspiring to thrive in the music business.

Among the array of departures, Jubelirer was the first to leave this year. In February, amid restructuring reports at Capitol and its parent company UMG, she stepped down from her role, having made history as Capitol’s first female CEO in its 80-year existence. Remaining in her position would have effectively meant a demotion, as she was to be moved under the newly established Interscope Capitol Labels Group (ICLG) and report to ICLG chairman/CEO John Janick, rather than directly to UMG chairman/CEO Lucian Grainge. Her successor was Tom March, an executive from the UK who previously headed the Interscope offshoot Geffen Records.

In September, Greenwald announced her departure from Atlantic Music Group, where she had co-led for two decades, including the last two years as the first female CEO in the company’s history. This exit was also tied to a similar restructuring within WMG’s recorded music division. Her replacement is Elliot Grainge, the son of Lucian Grainge and the founder/CEO of the label 10K Projects, which was acquired by WMG.

These significant departures come on the heels of Habtemariam’s exit from Motown, where she served as chair/CEO. This transition occurred amid rumors that Motown would lose its standalone status and be integrated back into Capitol Music Group, which indeed transpired. While the financial outcomes of Habtemariam’s tenure remain unclear, she notably increased Motown’s current market share in the U.S. from 0.85% to 1.30%, showcasing her contributions to the label during her time there.

The recent wave of executive departures is particularly concerning for women in the industry, given the significant challenges many of these women faced in ascending to their leadership roles. Following the retirement of Steve Barnett as CEO of Capitol Music Group at the end of 2019, Jubelirer, who had worked tirelessly for a decade to rise to COO, was widely believed to be the next in line for the CEO position. However, the role was awarded to Capitol Records president Jeff Vaughn, leading to a decline in Capitol’s market share. Vaughn’s tenure saw the market share drop from 7.36% in 2020 to 5.64% in 2021, and he was replaced by Jubelirer within a year. Under her leadership, she successfully increased Capitol Music Group’s market share by nearly a full percentage point from 2022 to 2023.

Mary Rahmani, CEO and founder of Moon Projects — a joint venture label and publisher with Republic Records/Warner Chappell Music — reflects on her experience in the major label landscape, noting that while she encountered many female assistants and coordinators, there was a distinct lack of women in executive roles to look up to. “If there were any, they were mainly in PR, radio, or sync. I wished for more strong female figures in A&R or marketing to serve as examples,” she stated.

Years later, during her maternity leave with her first child, Rahmani was laid off during a round of layoffs at the major label she worked for. Reflecting on that experience, she emphasizes that it “wasn’t personal,” but acknowledges that motherhood often presents additional obstacles for women climbing the corporate ladder, compared to men, even those who are fathers. “This is undoubtedly a significant factor. Many women in mid-level positions choose to step back or reassess their careers once they start families,” she added.

During Billboard’s Women in Music event in March, Jubelirer accepted the award for Executive of the Year, bringing attention to another challenge women face in the workplace: societal perceptions of their presentation. “Women, do these comments sound familiar?” she asked the audience. “‘You’re too emotional.’ ‘You don’t have to be so direct when you talk.’ We all recognize that this is often code for ‘Stop being a bitch.’ ‘You should smile more.’ … It requires immense fortitude to present our authentic selves in the workplace and defy the stereotypes that society has imposed upon women,” she remarked.

In certain sectors of the music industry, women find more favorable representation in leadership roles. Although full gender parity is still a distant goal, the publishing industry stands out as a beacon of progress. Numerous respected female leaders hold key positions, such as Jody Gerson, CEO/chair of Universal Music Publishing Group, who has excelled in her role for a decade, and Carianne Marshall, COO/co-chair of Warner Chappell. Additionally, Golnar Khosrowshahi, founder/CEO of Reservoir Media, and Mary Megan Peer, CEO of Peermusic, are prominent figures in the independent sector.

Khosrowshahi attributes the success of the publishing sector to a positive feedback loop: “As more women ascend to leadership positions within publishing entities, this paves the way for the success of even more women beneath them.” This cycle of empowerment is essential for fostering a more inclusive environment across the industry.

Ironically, even though women artists in the country music genre face challenges in gaining airtime on country radio, there is a notable presence of female CEOs and chairs in Nashville. Currently, all three major labels in the area have women leading their highest ranks: Cindy Mabe serves as chair/CEO of UMG Nashville, Taylor Lindsey is set to become chairman/CEO of Sony Nashville, and Cris Lacy holds the position of co-chair/co-president at Warner Music Nashville.

The C-suites within the major labels do feature women in various roles, including COOs such as Juliette Jones at Alamo, Annie Lee at ICLG, Colleen Theis at The Orchard, and Dawn Olejar at Verve. Furthermore, Julie Swidler serves as general counsel at Sony Music, while Erica Bellarosa holds the same title at Atlantic Music Group. Notably, Wendy Goldstein acts as president/chief creative officer at Republic Records, and Donna Gryn serves as chief marketing officer at Atlantic Music Group. Numerous other labels, including Capitol, Columbia, Virgin, Interscope, Atlantic, 10K Projects, 300 Entertainment, ADA, and EMPIRE, also have women in high-ranking positions, showcasing a growing representation across the industry.

Despite these advancements, the journey to becoming a CEO remains particularly arduous for women. Even those who attain the title often report feeling excluded from critical discussions and decision-making processes within their organizations. This lingering sense of isolation underscores the need for more inclusive practices within the industry.

When Greenwald received the title of Billboard’s 2017 Women in Music Executive of the Year, she expressed a hope for her platform to inspire future women executives within the industry. “I admire all the women here who advocate for their ambitions and say, ‘At some point, I want your chair,’” Greenwald emphasized. “I want to see more women entering this space with the confidence to take charge.”

Moreover, the independent music sector has emerged as a promising avenue for executives like Rahmani, Gleeson, Khosrowshahi, Prospere, and Milana Rabkin Lewis, co-founder/CEO of STEM Disintermedia, to thrive. The growth of indie music’s market share, both domestically and internationally, has provided these leaders with the opportunity to carve their own paths. For Rabkin Lewis, establishing her independent company was a way to exert greater control over her career trajectory and to set a new standard for others to follow, avoiding the roadblocks often encountered in corporate environments.

Nevertheless, it remains critical for the next generation to witness women in CEO and chairwoman roles at major labels. As one high-ranking female executive noted, “Power is rooted in P&L responsibility, and there is a notable shortage of women in major labels who hold P&L authority.” Another executive added, “The major labels are at the forefront of the industry and set the tone for its future trajectory.” The visibility of women in these influential positions is crucial for fostering a more equitable music industry.

Representatives from UMG, WMG, and Sony declined to provide comments or did not respond to inquiries regarding this pressing issue.