The Winehouse Mag

Petra Glynt Brings People Power to Her Experimental Pop. Chaka V. Grier for Daily Bandcamp. Photos: Kate Young 

This summer, Petra Glynt posted a message to her Instagram account, its floral-printed background belying the seriousness of its message. It read, “I want this to be known to the men of the music industry and those men booking and promoting shows. I am tired of being in the opening slot for your bills of all male musical acts. I’m so tired and I feel used.”

Those unsparing words, Glynt says, were long overdue. “I wrote that message publicly because I was fed up and am looking to make some changes,” she says from her home in Montreal. “I found myself feeling frustration at being the token female on music bills of all-male musicians. It is important to have diverse music events, but I was feeling that my role at these shows was a bit too obvious. People weren’t booking me because of my music, but because I am a woman who makes music, and being aware of that comes with a truly dreadful feeling. I am, more often than not, billed as the opener, which means knowing my place as the token female.”

“I am also tasked with starting up the night, which, along with the tokenization, can feel demoralizing,” she continues. “The whole thing was taking a toll on me, on my spirit, on my feelings toward my future as a musician, so I said something to prevent it from happening further, and so that I can begin to carve out a preferred way of performing—because I fucking love performing. Why should anything get in the way of that?” (Interview by Chaka V. Grier)

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Photos by Kate Young

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