Empowering Women Backstage: A Conversation with Malle Kaas, Co-Founder of Women in Live Music

The live music industry is often seen through the lens of the performers on stage, but there’s a whole world behind the scenes that makes the magic happen. It’s a tough world, especially for women who have to navigate a traditionally male-dominated space. Malle Kaas, a seasoned sound engineer and co-founder of Women in Live Music (WILM), knows this world all too well. With over 20 years in the industry, she has seen the highs and lows, the camaraderie, and the challenges that women face daily. We sat down with Malle to discuss the inception of WILM, the ongoing struggle for gender equality in the industry, and the bright future she envisions for women working backstage.

When Malle Kaas co-founded Women in Live Music (WILM) seven years ago, it was sparked by a story she heard that vividly highlighted the ongoing gender biases in the live music industry. A female backline technician and tour manager from the UK, while on tour in France, found herself completely ignored by the local crew — simply because she was a woman. Malle recalls, “At that time, there was no common platform for women backstage who worked in production, logistics, and technical roles at the many tours, festivals, and venues out there.” This incident, though deeply disheartening, revealed a crucial gap. Along with her colleague Hannah Brodrick, Malle set out to create a space for these women to connect, share their experiences, and receive support, leading to the birth of WILM.

Since its inception, WILM has been on a mission to address the gender imbalance in the live music industry. And while there’s been progress, with members noticing more women working behind the scenes, the shift has been slow. “You still can’t really see a significant difference,” Malle says, estimating that women make up less than 10% of backstage crews. “We reckon we still have about 10 to 15 years before we see the change everywhere.” Despite this, Malle remains optimistic and determined, with WILM playing a critical role in supporting and empowering women in the industry.

For Malle personally, the live music industry can be harsh and stressful, regardless of gender. However, for women, the pressure is even greater. “You get one chance — and that’s it!” she explains, referencing how women are often judged more critically than men for any mistakes or perceived failures. This is a global issue, something Malle has witnessed not just in Europe, but in places like Japan, the United States, and South America. She refers to this as “the hidden harassment,” a subtle form of bias that is hard to pinpoint but is undeniably present.

Despite the obstacles, there have been numerous rewarding moments for Malle and WILM. One of the most fulfilling aspects for her is seeing the friendships and networks that have formed within the WILM community. “The help, motivation, and dedication they show each other — that makes it all worth it,” she says. The feedback from members, many of whom express how much WILM has helped them both professionally and personally, serves as a constant reminder of the organization’s impact.

Malle has also faced significant pushback, particularly early on, when WILM was still new. “When it got known that I was behind an organisation with a name that indicated we were for more diversity in live music, many of my colleagues turned their back on me,” she shares. But rather than be discouraged, Malle shifted her focus internationally, and over the years, she has toured with major artists such as Simply Red and The Pretenders, proving that perseverance is key in this industry.

WILM’s events have also been a significant success. One highlight is their Walk & Talk series, where members are given backstage tours at concerts by artists like Doja Cat and 1975. “I’m especially proud of our collaboration with the Arctic Sound festival in Greenland and with Music In Africa’s ACCES festival,” Malle says, though she notes that perhaps their most notable event is the WILMAwards. This annual awards ceremony celebrates the contributions of women working backstage and garners significant attention from across the industry, serving as a powerful reminder of the vital roles women play in live music.

Mental health is another area where WILM is making an impact. The music industry is known for its high-pressure environment, and Malle is acutely aware of how isolating it can feel. Earlier this year, WILM released a report on the well-being of female crew members, aiming to raise awareness of the mental health challenges they face. Malle’s advice for those entering the industry is clear: “Accept that it’s okay to say no.” Whether it’s declining a gig that doesn’t feel right or stepping away from the party scene on tour, Malle believes that setting boundaries is essential for maintaining mental well-being. “It is definitely okay to say no if you feel you are not being treated well. And it is always okay to reach out or ask for help.”

Looking to the future, Malle acknowledges that gender diversity backstage won’t happen overnight, but she’s optimistic. Over the next five years, WILM aims to expand its workforce by establishing a permanent secretariat, though securing funding for this remains a challenge. “Whoever thought of funding the backstage?” she jokes. But with several exciting projects in the pipeline, Malle is confident that WILM’s impact will continue to grow, helping to shape a more inclusive live music industry for years to come.

Ultimately, Malle’s vision for WILM is not only about empowering women but also about improving the live music industry as a whole. “You can’t talk diversity onstage without including backstage,” she points out, emphasizing the need for more visibility and support for women in all 35+ job positions that exist behind the scenes. By equipping these women with the skills, network, and confidence they need, WILM is ensuring that the industry evolves in a way that benefits everyone — both onstage and off.