Women in the music industry face relentless judgement when they express themselves authentically. Whether through their performances, clothes or lyrics, their artistic expression is constantly policed and criticized. Unlike men, who are praised for exploring sexuality and relationships through their music, women are condemned for doing the same. This double standard underscores the deeply embedded misogyny in the music industry, where male boldness is praised, but female boldness is vilified.
Sabrina Carpenter is a prime example of this inequity. After releasing her album Short and Sweet this summer, Carpenter was labeled by critics, parents and religious institutions as “too provocative” and “un-ladylike” for openly discussing sex and her experiences with men, instead of being applauded for her creativity. In a review on studlife.com, Lyn Wilkins dismissed Carpenter’s work saying, “She is not a feminist legend for owning her sexuality.”
This critique is drastically different from the praise male artists receive for their far more explicit lyrics. For example, Jack Harlow’s songs like “Lovin On Me” and “First Class” showcase how Harlow, as a man, can openly express and own his sexuality through bold sexual references and self-assured lyrics without any backlash.
This also holds true for The Weekend, who not only openly sings about sex but often does so in a derogatory manner. In his songs like “Loft Music” and “Often,” he refers to women using offensive language, reducing them to mere sexual objects. Yet, critics and listeners largely overlook this, continuing to celebrate male boldness. According to culturecrit.com, The Weekend’s “unique approach” and “enigmatic presence” enable listeners to “disassociate the musician from the music.” Meanwhile, his female counterparts are defined by their lyrics, held to a different and harsher standard.
This double standard is particularly evident in the career of Taylor Swift, who has long been scrutinized for writing about her relationships, ultimately overshadowing her musical achievements. Critics reduce her to someone who “only writes songs about her exes,” according to hercampus.com. Swift has used her platform to combat this narrative, seen in the song “The Man,” where she directly addresses the double standards men and women face and how different her career would be if she was a man. In a 2014 interview, Swift commented upon the criticism she endures saying, “No one says that about Ed Sheeran. No one says that about Bruno Mars. They’re all writing songs about their exes… and no one raises the red flag there.”
I find this double standard deeply damaging and frustrating, not only for female artists but for women as a whole. As seen through the experiences of Carpenter and Swift, when women are criticized for expressing their sexuality and emotions in their work, it reinforces the idea that women’s voices and experiences are less valid than men’s.
This narrative instills in young girls the expectation of judgement and invalidation for their creative expression, while their male counterparts are celebrated, even when their work is far more explicit and offensive.
How is it fair that women are forced to downplay their artistry and are labeled as being “too much” simply because of the gendered expectations placed upon them? The music industry has the power to debunk these harmful norms, yet it continues to uphold them, silencing women and diminishing their work in the process.