In this paper, I investigate the circumstances that facilitate the marginalization of female and non-binary voices from male voices in the performance of barbershop harmony in America. Despite being rooted in African American traditions, the contemporary performance of barbershop harmony is regularly associated with middle class white males and is seemingly reluctant to change this image. This further encourages the marginalization of performers based on both gender and race. This project explores the historical instances of marginalization within the Barbershop Harmony Society of America (BHS) and how it has impacted the competitive environment today. I then analyze the BHS rule book and outline how their own rules are contradictory to their practices. Finally, I assess the recent change to competition structure and evaluate the impact this will have on gender equity going forward. I will utilize primary sources taken from the BHS themselves as well as examples of performing quartets and personal correspondence with BHS members. I focus on the perspectives of female and non-binary performers because the BHS is defined by the gender binary. From their enrollment forms to their competition structure, the male/female binary pervades through the system. While the BHS is making efforts to move towards racial equality in both its performers and spectators, the gender discrimination is still painfully obvious. By bringing these issues to light, I facilitate discussions around the performance of Barbershop style music to further gender and racial equality in the BHS.