Adam Lambert, Troye Sivan, and a dozen of queer-identifying hitmakers attended a roundtable discussion last week to talk about homophobia in the music industry. After Variety published an article about the brunch gathering with a group photo of the attendees, many people noticed who didn't have a seat at the table—women and people of color.

According to Variety, management company Milk & Honey organized the inaugural "Out to Brunch" event to celebrate some of the most successful gay songwriters, artists, and other creatives in the business.

Singer-songwriters James "JHart" Abrahart and Brett "Leland" McLaughlin cohosted the event held at Cecconi’s in West Hollywood.

"LGBTQ people are marginalized in the world and in the music business," said acclaimed songwriter Justin Tranter. "I think there’s even more love and support here."

Abrahart agreed, adding, "We get the short end of the stick from executives, so as creative people, it's important for us to stay unified and feel like a family."

The article stated songwriter Ilsey Juber was the "token female songwriter in attendance" and that Tranter called out the lack of diversity at the event.

While people on Twitter expressed their appreciation for seeing such an event held, they were disappointed in its lack of diversity.

In response to the backlash, Tranter tweeted out a statement claiming his comments about the lack of diversity were not published in the article.

Earlier this year, a University of Southern California's Annenberg Inclusion Initiative study found that of 600 popular songs on the Billboard Hot 100 year-end charts from 2012 to 2017, women comprised just 22.4% of artists and 12.3% of songwriters. "When it comes to songwriters, only 12 percent are female, and perhaps most egregiously, only 2 percent of 651 producers were women," co-author of the report Stacey Smith told NPR. "And only two of those producers were women of color."

Music engineer Heba Kadry believes the industry will improve when music producers expand their collaborator network. "They usually go for their rolodex of the same dudes," she says.

"I think when the artist has enough clout to be like, 'You know what? No. I want to work with this person,' then can the tides really change."