The global music industry is in a current state of reckoning. Post-#metoo, post pay gap acknowledgement, and following our understanding of the powerful advantages of diversity in the workplace, the industry is changing.

So when Vicki Gordon debuted her Australian Women in Music Conference and Awards (AWMAs) last October in Brisbane, it was met with thunderous applause from non-male industry workers and their allies, and… silent observation from many who are vastly overrepresented in our sector.

In an interview with TIO last year, Gordon responded to the detractors with:

“If we really believe in a world where men and women are equal, in the home, in the workforce and in a country, then we need to acknowledge their contributions,” she said.

“Up to this point we have been dealing with bias or unconscious constraints to acknowledging natural merit and we have an enormous opportunity to consciously redress that imbalance now.”

The conference and awards were a runaway success. Sparking an “unprecedented moment for music”, the event dove into pathways for music makers, new and emerging digital platforms, and the role of music as a political songbook. It also featured a film screening of ‘Her Sound Her Story’, a photographic exhibition and a keynote by Kate Ceberano.