The purpose of this essay is to identify possible strategies to achieve intersectional representation among music acts in a live context, with a focus on the indie music scene in Berlin. Furthermore, the advantages and disadvantages of the identified strategies are examined and discussed. The strategies are identified and weighed through qualitative interviews with three actors who, in different ways and on different levels, are involved in organizing concerts in Berlin.

Based on the interviews, the intersectional analysis is foremost restricted to the social categories of gender, race and sexuality. Four main strategies are identified: quota; safe spaces and an inclusive language; funding; conversation and confrontation. Quota is highlighted as the best and most effective strategy, but also as the most problematic. However, unequal societal structures prove to be an obstacle to achieve true intersectional representation.