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Jessye DeSilva

Two Weeks Later, Silence From Americanafest

Two Weeks Later, Silence From Americanafest

To be fair, I’m writing this at 8 AM before I head out for the long weekend. It’s entirely possible that the Americana Music Association (AMA) will release something potentially embarrassing on the cusp of a long weekend when people are traveling and not paying much attention. Of course, if that is what happens, it would indicate to me that the organization is not putting its best foot forward when it comes to accountability.

(Full disclosure: I have reached out to AMA for comment on a story I’m working on elsewhere and have not heard back yet. This article probably will not help!)

Some followup has occurred, though:

  • Paisley Fields has released a statement with their account of what happened at the panel moderated by Marcus Dowling. In addition to Dowling’s own missteps, Paisley’s placard had their given name on it. As Paisley explains in their statement, they still use their given name in some contexts but expressly asked for “Paisley Fields” to be on the placard. On a panel for trans and nb people, names are obviously a sensitive subject.
  • Jessye DeSilva, who was, in their words, grilled by a senior AMA official after their showcase, reports that the individual has since apologized. But no word from AMA itself yet.
  • Mya Byrne reports that she has also not yet received an apology from leadership in AMA, though she says she has spoken with “AmFest fam who want to help”

(PS I love you all but I wish you’d get off Twitter so I can finally kick it to the curb T_T)

Again, the Americana Music Association is not responsible for the actions of individual attendees, but they are responsible for holding the space and intervening when something goes wrong. This is not just an issue of insensitivity or a shallow commitment to diversity — though it is. It’s also a labor issue.

A public radio DJ got into a fight with me on Twitter (PLEASE PEOPLE LET ME GIVE YOU MY BLUESKY CODES) about AMA’s responsibility here, and Jake Blount valiantly countered by arguing that if you are hosting a party, you need to make sure everyone is safe. I don’t think that’s quite the right metaphor, though.

These festivals are workplaces, and rules (nay, laws even?!) about workplace harassment should apply. If a coworker sticks their head into your workspace and starts haranguing you about your appearance, your employer is obligated to take action. They’re not responsible for your coworker being awful, but they are responsible for creating a neutral environment were people feel safe (and productive, I guess.)

But acknowledging that an event like Americanafest is a workplace would imply that artists are workers, not commodities. And if artists are workers, that affords a whole new level of responsibility — and liability — to orgs like the AMA (or IBMA, or the Grammys, or SXSW, and on and on.) That leads me to wonder: if these orgs pull in hundreds of thousands of dollars (if not millions) and they’re not prepared to lawyer up, are they really ready to host city-spanning festivals? Where’s the money going?

And, importantly — if these orgs recognize artists as workers, what’s to stop artists from unionizing?

Rainbow Roundup

  • Support disabled artists when you support Rampd
  • Are you on BlueSky? I made a feed for LGBTQ+ and BIPOC country music!
  • If you’re here, you like music zines. Longtime Wide Open Country contributor Addie Moore is taking pre-orders for their indie punk zine No Spectators
  • You can get almost 50% off the book Queer Country using this code: F21UIP
  • This thread gives advice on self-managed transition in Alabama and other states that restrict our bodily autonomy
  • And here’s a directory of DIY HRT
  • Eli Conley is running a queer songwriting circle

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