Gender diversity in new art music festival programming has been a topic of heightened interest since the 2016 Gender Research in Darmstadt (GRID) discussions, which focused on the lack of female composers represented in the archives of the Darmstadt International Summer Course for New Music. GRID’s public nature shone a light on the extent to which new music programming is male-dominated, which has led to many directors worldwide making an effort to address gender disparity in programming. Initially, it may seem that open-access and call-based festivals will have difficulty reaching gender parity, due to having less control over programming than curated festivals. However, call-based festivals with peer-review processes can be effective at mitigating bias and achieving gender parity. This chapter uses Tilde New Music and Sound Art Incorporated’s (Tilde’s) call-based new music festival as a case study in gender-equal programming of both composers and performers. It provides an account of the Darmstadt discussions, an overview of programmes aimed at promoting change, and an overview of methods for programming with gender parity. It discusses Tilde’s “focus area” method, encouraging applicants to consider programming more works by female, non-binary, intersex, and transgender artists.