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The \u201cBoy\u2019s a liar\u201d singer PinkPantheress opens up about the quiet bias Black women face in the electronic scene.<\/p>\n
Brit-born creator PinkPantheress isn\u2019t just another rising name in the pop-electronic world, she\u2019s also speaking up about how it feels to push against an invisible barrier. She recently shared candidly that despite hitting all the high notes, she sometimes feels like she\u2019s being overlooked. It’s not that her songs aren’t catchy, but she senses that people are hesitant when it comes to electronic music made by Black women.<\/p>\n
The feeling of being overlooked, she hints, isn’t about lack of craft; it’s about expectations and biases in the music world.<\/p>\n
The \u201cBoy\u2019s a liar\u201d singer\u00a0PinkPantheress\u00a0opens up about the quiet bias Black women face in the electronic scene<\/b><\/p>\n
In a recent interview with The Hollywood Reporter, PinkPantheress unpacked the frustration head-on. She said,<\/p>\n
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\u201cPeople are less willing to listen to electronic music that is made by a Black woman. That\u2019s just fact.\u201d<\/p>\n
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She described that despite ticking industry boxes\u2014viral hits, awards, high-profile collaborations\u2014it still sometimes feels like she\u2019s swimming upstream in terms of full recognition. As she puts it: she hits milestones, but it still feels like she\u2019s<\/p>\n
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\u201cgetting overlooked \u2026 because a lot of people don\u2019t necessarily understand what I represent, nor do they want to take a look.\u201d<\/p>\n
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Born Victoria Walker and raised in Kent, England, PinkPantheress fused her love for UK garage, drum and bass and R&B into a unique alt-pop sound. Her breakthrough mixtape To Hell with It appeared in 2021, followed by her debut album Heaven Knows (2023), and Fancy That earlier this year \u2013 each project earning critical respect and bona fide fan love. Despite being named Billboard Women in Music\u2019s Producer of the Year in 2024 and landing on global festival lineups, she still questions why the full industry gaze sometimes drifts past her.<\/p>\n
Her point isn’t self-pity; it’s a call-out: people often resist engaging with electronic music by Black women because they struggle to fit it into the neat genre boxes the industry prefers. It’s not about her skills or her sound, it\u2019s about assumptions. As she said, sometimes she just enjoys proving people wrong by doing her thing so well that they have to listen.<\/p>\n
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\u201cOnce you like it,\u201d she quips, \u201cyou\u2019ll realise: why didn\u2019t I give her a chance in the first place?\u201d<\/p>\n
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PinkPantheress isn\u2019t the first Black woman to work in the electronic genre, but those who\u2019ve done it have often stayed on the margins. She cited Kelela, whose club-influenced music opened doors and\u00a0collaboration with PinkPantheress felt deeply significant. Notably, only very few Black women at high alt-electronic levels get visibility, and PinkPantheress wants to change that. She remembered\u00a0seeing M.I.A. as one of the few successful Black women doing alternative electronic music, and wondered why more\u00a0weren\u2019t seeing that reflected in the scene.<\/p>\n
Her awareness of this landscape is not theoretical. She\u2019s been vocal about how popular culture often pushes Black women into R&B or soul categories, rarely granting space for experimentation in drum and bass, garage or electronica. In her own words, her trajectory was never meant to fit the \u201cpop star mold.\u201d<\/p>\n
She embraced short, sample-based tracks built for TikTok virality and listeners\u2019 fast attention spans, not radio playlists. Yet even with track lengths under three minutes, each one feels carefully crafted, and every beat carries her intention, which is proof, she argues, that good music can\u2019t help but break through if given the chance.<\/p>\n
By insisting on authenticity over genre conformity, PinkPantheress is essentially holding up a mirror to the music industry. She\u2019s showing that success as a Black woman in electronic music isn\u2019t an aberration, it\u2019s long overdue.<\/p>\n","protected":false},"excerpt":{"rendered":"The \u201cBoy\u2019s a liar\u201d singer PinkPantheress opens up about the quiet bias Black women face in the electronic…\n","protected":false},"author":3,"featured_media":104855,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[185,171,67,132,68],"class_list":{"0":"post-104854","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-celebrities","8":"tag-celebrities","9":"tag-entertainment","10":"tag-united-states","11":"tag-unitedstates","12":"tag-us"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/114942329902310605","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/104854","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=104854"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/104854\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/104855"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=104854"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=104854"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=104854"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}