Are Female Pop Stars Held to a Higher Standard?

Last week, I watched a YouTube video by pop culture commentator Casey Aonso titled “The ‘Payola Pop Boy’ Epidemic. In her video, Aonso discusses the emergence of several male pop stars within the last few years and the discourses they have sparked. She examines the success stories of new artists like Benson Boone, Alex Warren, and Sombr, emphasizing the commonality between them: their songs feel somewhat formulaic, almost algorithm-created. Additionally, their live performances lack a certain level of production value or stage presence (aside from Boone’s famous backflips, of course). Upon finishing the video, I was left to reflect upon the position of male artists in today’s industry, particularly as they are paralleled against their female counterparts. As we have watched the rise of stars like Sabrina Carpenter, Chappell Roan, and Lola Young, I couldn't help but notice a stark contrast between the way these artists are critiqued compared to the level of artistry they display in live performances and appearances. 

Like many sectors within the entertainment world, the music industry has a history of exclusivity that has been challenged time and time again by trailblazers and innovators. Women especially have continuously fought to break down barriers in all facets of the industry, from management to producing to performing. While women today dominate the pop genre, this has not always been the case. In the early decades of popular music, female artists were often limited to performing songs written and produced by men. It wasn’t until the 1980s and 1990s, through figures like Madonna and Janet Jackson, that women began taking creative control and reshaping pop music into a space for female self-expression and autonomy.

In today’s industry, most especially in pop music, misogyny and inequity are still present. What makes these issues different from their historical presence, however, is how they appear: much more subtle, but just as harmful. Rather than barring women from performing or charting altogether, female artists are held to standards of performance, branding, and public image that their male counterparts are not. According to research discussed by the Women’s Resource and Development Agency, the industry’s power structures continue to reflect gender imbalance, with women making up less than a quarter of credited artists and an even smaller percentage of producers. This gap contributes to how audiences and media evaluate artistry, often framing female performers through image and personality rather than through musicality or innovation.

A recent article by Rolling Stone about rising pop singer Sombr highlights this dynamic in action. Sombr faced criticism on TikTok after a concert clip went viral, with users calling his performance “cringe” and “low effort.” He responded directly, calling out the online backlash and reminding viewers of his age and style of performance. What stood out about the response was how quickly the discourse shifted to defending his authenticity and individuality. Despite the criticism, many fans framed him as a relatable and young artist still finding his footing. This kind of understanding is rarely extended to young women in pop. When female artists take creative risks or have less polished live moments, their entire artistry is questioned.

In contrast to the relatively forgiving reception of Sombr, Chappell Roan’s experience shows how female pop artists often face harsher and more personal criticism. Roan, known for her bold visuals and unapologetic performances, has frequently been labeled “too theatrical” or “over the top,” even as those same qualities are celebrated in her male peers. When she spoke in interviews about the mental strain of the music industry and the unrealistic expectations placed on young artists, some commentators accused her of being ungrateful or overly sensitive. After her breakout performances at major festivals, social media critics focused less on her powerful vocals or songwriting and more on her costumes and behavior on stage. This reaction contrasts sharply with the way male artists like Sombr are defended as “authentic” or “just having fun” when they experiment with performance style or lack polish. Roan’s treatment highlights how women in pop are still expected to balance artistic ambition with likability, and how stepping outside those boundaries often leads to disproportionate backlash.

Writers at Spartan Shield have pointed out that double standards in the music industry set women up for failure. Female pop stars are expected to be flawless performers, compelling songwriters, and strong public figures all at once. Mistakes that are forgiven in male artists are magnified in women, and what counts as “authenticity” for one gender often becomes “unprofessionalism” for the other. For example, while male performers are often praised for casual or emotional stage behavior, women displaying the same energy can be labeled as “too emotional” or “unhinged.”

This bias extends to how success is measured. A report by Artmaster highlights that female artists are less likely to be recognized for songwriting and production work, even when they are heavily involved in those processes. Because the industry’s infrastructure has long been dominated by men, women’s achievements are often overshadowed by assumptions that their success is the product of marketing or outside help. This perpetuates a cycle where women have to work harder to be taken seriously, while male artists are allowed more creative leniency.

I wanted to discuss this issue because even as a huge fan of pop music, someone who wants to break into music, and a woman, I sometimes fear that I contribute to this unfair comparison between the artists I look up to. When I see a male artist release a simple, catchy song, I often accept it at face value. When a female artist releases something similar, I subconsciously expect more, such as better production, deeper lyrics, or a bolder concept. These biases are subtle, but they shape how audiences reinforce inequality within the music landscape.

The change begins with awareness. Recognizing that these double standards exist allows listeners to evaluate artists more fairly. The industry can only evolve when fans, critics, and executives hold everyone to the same artistic expectations, regardless of gender. Female pop stars today are pushing boundaries in both sound and self-expression. The least we can do, as listeners, is acknowledge the extra work it takes to thrive under an unfair spotlight and make space for artistry that challenges the narrow standards set for women.