By Shelley Boettcher

For the Calgary Herald

You can love it.

You can hate it.

But you certainly can't leave Lilith Fair out of conversation these days, especially if you're female and part of the local music scene.

Singer-songwriter Danielle French is definitely of the pro-Lilith camp.

She feels the all-women music festival, organized and headlined by Sarah McLachlan, deserves at least part of the credit for more on women being involved in music than ever before.

“Lilith Fair gives everyone a chance, from my level to the Paula Coles and Indigo Girls and Shawn Colvins,” says French, 27.

Others say Lilith Fair is only a beginning — that there's more variety among women artists today than fans will ever hear when McLachlan and company arrive at McMahon Stadium Friday.

“I don't think there's much variety in the music that they've selected,” says 19-year-old Sarah Shimizu, a Calgary guitarist-songwriter who played until recently in an all-ages rock band called the Makeout Club.

“lt's also the ” stereotype of what girl music is today. That's not to say that it's not valid, but it's a bit boring.”

Sara Quin, 17, agrees.

“They need an edge,” says Quin, one half of the acoustic rock duo, Sara and Tegan. Their second gig won the identical twin sisters first prize at this year's Calgary Garage Warz competition.

Still, the pair admires Lilith Fair's acts.

“I think it's great that women are grouping together and putting on an awesome festival," says Tegan Quin. The Quins just wish Lilith's fare was more varied.

Music is also a huge part of Tane McCullough's life.

The 21-year-old Calgarian is learning to play bass guitar in the band Georgia Asphalt with two female buddies.

She hosts a radio show called His Girl Friday on CJSW 90.9 FM every Tuesday morning and can often be spotted at gigs around town. McCullough feels Lilith Fair has had a major and positive, impact. She hopes, though, that one day it won't matter if a musician is male or female — that the only important thing will be the talent behind the tunes.

“Hopefully it will lead to where people don't have to point out that Sarah McLachlan's a woman,” she explains.

“She's a musician. She's an artist. And that's what matters most.”

Yet for many, there's still a necessity for all-women events such as Lilith Fair.

Jann Arden, for instance, recently established Big Hip Records, to focus on the work of female singer-songwriters such as Lin Elder and Mae Moore, who's playing Lilith.

And women are still a minority in the North American music industry. A recent scan of the top album lists reveals that out of the 20 pop-rock recordings, fewer than one-third are bands with a female majority.

But this may be changing. Tim Potocic, co-owner of one of Canada's biggest independent record labels, Sonic Unyon Records (which distributes discs by such bands as the all-female American group, L7), says there has been a big jump in the number of female musicians sending demo tapes to the company.

“We've only been around for five years but I've definitely noticed an increase,” he says.

Others have also found that a higher number of women-centred bands are approaching them for deals.

“Of the 50 or so demos that Nettwerk receives each week, about 30 per cent are from female musicians," says Kim Hardy, media and artist-relations representative with Nettwerk Productions, Sarah McLachlan's label.

“We're definitely receiving more demos from young, aspiring (women).”

Whether that's because of Lilith Fair or a general change in society's view of women and music, one thing is for certain: more women involved in the music industry has meant even more women who see themselves making viable careers in music.

“And that can only be a good thing,” says Potocic.”