Women in AV: Breaking Barriers on the Show Floor

Walk any load-in in America and you'll notice something: the ratio is lopsided. The live events and AV industry has been male-dominated for decades, and while that's changing, it's changing slowly. Here's an honest look at where things stand and what everyone in the industry can do about it.

The current landscape

Women make up roughly 20-25% of the technical workforce in live events, depending on the market and discipline. That number is higher in production management and lower in rigging and audio. It's been climbing steadily for the past decade, but there's a long way to go.

What's working

Mentorship programs. Organizations like SoundGirls, Women in Live Music, and AVIXA's Women's Council are connecting experienced women in AV with newcomers. These programs work because they create pathways that don't depend on the traditional "I know a guy" hiring system.

Visibility. When women see other women running FOH at a festival or coordinating RF for a broadcast, it changes the mental model of who belongs in this industry. Representation isn't a buzzword — it's a recruitment tool.

Companies with intentional hiring practices. The production companies that actively build diverse crews aren't doing it for optics — they're doing it because diverse teams are better at solving problems, communicating with clients, and creating inclusive environments.

What needs to change

The culture of "can you lift that?" Physical capability matters in some roles. But the assumption that someone can't do the job based on how they look is lazy and inaccurate. The strongest rigger I've ever worked with was 5'4" and 130 pounds. Skill and technique matter more than size.

Tolerance of bad behavior. Inappropriate comments, exclusion from the "inner circle" of senior crew, and the general culture of hazing — none of it is acceptable, and none of it is necessary. Crew leads who tolerate it are the problem, not the people calling it out.

Pay equity. If two techs are doing the same job on the same show with the same experience level, they should be paid the same rate. Period. Audit your payroll.

What you can do

If you're a crew lead or production manager:

• Build your crew from the widest possible pool
• Call out unprofessional behavior in real time
• Mentor the next generation regardless of who they are

If you're a freelancer:

• Be the person who makes every crew member feel welcome
• Refer qualified people from underrepresented groups
• Support organizations doing this work

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The AV industry is at its best when the best people get the gig — regardless of anything except their skill, reliability, and professionalism. That's the industry worth building.