A Woman Every Hour

Behind the sequins and smiles of many female country artists is a growing discontent. Ladies and gentlemen, the women of Nashville are calling Times Up.

- Jessica Hopper

It’s Monday night at the Listening Room Cafe in Nashville’s SoBro neighborhood, and the venue is nearly full for the dinner seating. The air is thick with the smell of barbecue; the servers are apologetic—they’re out of the pulled pork. We’re here to see “Song Suffragettes,” Nashville’s preeminent (and only) weekly showcase for female songwriters. The lights come up, and out strides Kalie Shorr, a regular presence on the Song Suffragettes stage, followed by four young women holding acoustic guitars. Shorr sits on the center stool. Next to her is Candi Carpenter, her best friend and occasional writing partner. The rapport between all five women is collegial and affirming. They sing along to each other’s choruses. Their collective talent is palpable—and on a few songs, chill-inducing. By way of an intro, Shorr explains why this night is necessary: “Women in Nashville deserve to be heard, even if they are not on the radio.” The audience, a few hundred deep, whoops and whistles in agreement.

In the past few years, the number of female artists on country radio has been steadily declining. According to trade publication Country Aircheck, in 2016 female artists made up 13 percent of radio play; by 2017, that figure was down to a meager 10.4 percent. The country radio programmer quota–cum–excuse that fuels this inequity is that “one woman an hour” is plenty. In response, labels have grown reluctant to sign female talent, knowing that radio won’t support them. Festival and tour promoters excuse the dearth of female country acts on lineups by pointing fingers at radio and labels, insisting that there are not enough bankable female artists to draw from—just superstar headliners like Miranda Lambert and Carrie Underwood.