The Ivors 2024

IVOR NOVELLO

AWARDS CELEBRATE THE CRAFT AND ACHIEVEMENTS OF SONGWRITERS AND COMPOSERS

Presented by The Ivors Academy for creative excellence.

Judged by songwriters and composers from The Ivors Academy to honour their peers.

FELLOW OF THE IVORS ACADEMY

It’s an honour and a privilege to represent you and your music.

IVORS ACADEMY FELLOW

Congratulations on becoming the first-ever international songwriter inducted into Fellowship, from all of your friends at Live Nation, SJM Concerts and MCD Productions

Welcome to The Ivors with Amazon Music, the biggest celebration of songwriting and screen composition.

When trying to explain the irresistible allure of The Ivors, incoming Ivors Academy CEO, Roberto Neri turns to the tale of John Lennon.

“You can imagine how many awards that John Lennon won, but he gave them all away,” says Neri. “The only ones he ever kept were his Ivor Novellos. That was the one he really cared about.”

That same appeal is part of what drew Neri to “cross the floor” after a lifetime in music publishing at companies such as Believe, Downtown, Utopia and Bug Music, as well as the

Music Publishers Association. He now joins The Ivors Academy’s Chair, Tom Gray, on the mission to champion songwriters and composers.

“My focus will be to continue the great work that’s already happening,” says Neri. “We’re here to recognise amazing talent, but also to ensure that we have a sustainable future for songwriters and composers.”

“Everyone in The Ivors room should be celebrating songwriters,” he adds. “Not just by presenting

(L-R) Roberto Neri, Chief Executive Officer of The Ivors Academy with Tom Gray, Chair of The Ivors Academy

CONGRATULATIONS TO OUR BMG SONGWRITERS.

2024 IVOR NOVELLO AWARDS.

KT TUNSTALL WINNER

OUTSTANDING SONG COLLECTION

MURA MASA NOMINEE

PRS FOR MUSIC MOST PERFORMED WORK

Boy’s a Liar Pt. 2 performed by Pink Pantheress

CMAT NOMINEE

BEST ALBUM - ‘CRAZYMAD, FOR ME’

DAVE ROWNTREE / EXTRA MILE MUSIC NOMINEE

BEST SONG MUSICALLY AND LYRICALLY

The Narcissist performed by Blur

awards, but by ensuring they’ve got careers and can actually survive.”

Tom Gray welcomes Neri’s arrival as “a step change” for the Academy.

“We’re very lucky to find somebody with Roberto’s standing and experience,” says Gray. “His willingness to take up this role speaks of an organisation whose ambition has grown and that has become far more visible in the public debate.”

As well as the on-going fight for songwriters’ rights, there is, of course, the small matter of The Ivors, which Gray hails as “the biggest celebration of songwriting anywhere in the world”.

After last year’s revamp, inspired by the new partnership with Amazon Music (“They get it,” says Gray. “They appreciate the songwriter can be the story”), the duo say this year’s ceremony will be about “fine-tuning” last year’s innovations. Meanwhile, the later start time will help bring a new international audience to a ceremony with a soaring global profile.

But, ultimately, Neri and Gray want the world to know about all of the Academy’s work, as it celebrates its 80th year.

“The Ivors is the day that is publicly recognised,” says Neri. “But the job for me is to make sure I’m doing that all year round.”

The Ivors Academy has changed beyond all recognition since its launch, as the Composers Guild of Great Britain, in 1944. As Gray notes, The Ivors are “prestigious, but not elitist – and that’s really important”, while Neri says attendees this afternoon will see “a different face of The Ivors Academy than you did even five years ago”.

But some things at the Academy haven’t changed since the days when John Lennon was coveting recognition from his peers.

“We need to be the No.1 partner to all songwriters and composers,” says Neri. “It’s our only purpose. We’re not a business here to make money from them; we just want to enable songwriters and composers to have careers.”

“The rest of us, myself included, are employed and being paid because of their great work,” the CEO adds. “We should never forget that.”

The Ivors 2023

FOC

As part of our long-term commitment to elevating music creators across all genres and generations, we are delighted to support The Ivors Academy and amplify the Ivor Novello Awards in its 69th year. Musical composition and storytelling are among the most authentic forms of expression. At a time when music fans are longing for authenticity more than celebrity or stardom, we, as an industry, have the opportunity to put the songwriters behind the music in front of the mic. And, in collaboration with the Academy, we will continue to do so.

We are pleased to see previous Rising Stars – PinkPantheress and Victoria Canal – and current Amazon Music Artists To Watch – Jazzy, Kenya Grace, and METTE – nominated alongside established superstars. This highlights the significant impact that access to specific resources has on the development of music creators at vital stages in their careers. As in all years, The Ivors’ judges have nominated their peers based on the merit of their creativity regardless of genre; however, this year’s panels have especially celebrated the diversity of voices and perspectives represented in culture and songwriting.

In 2023, we delivered a campaign that placed songwriters and composers at the forefront of music culture and made The Ivors the biggest celebration of songwriting on the planet. With the power of Amazon Music’s global marketing capabilities, we hosted the first-ever livestream from the awards ceremony, offering exclusive performances, interviews and content to music fans globally. In 2024, we remain inspired by music creators’ persistence and resolute collaboration to preserve their craft. In partnership with the Academy, we look forward to expanding its longevity and supporting its long-term viability as an art form that continually shapes culture.

Congratulations to the nominees, winners, and honorees of this year’s Ivors. We recognize music creators’ profound contributions to culture and celebrate their creative excellence, which inspires each of us daily.

James Duffett-Smith Director of Content Acquisition and Global Head of Music Publishing

Tom Winkler Head of Publisher, Songwriter and Society Relations

PRS for Music is a proud supporter of The Ivors, an opportunity to celebrate the incredible talent across the songwriter and composer community. As we honour those who have shaped the music landscape over the last 12 months, we are reminded of the incredible influence music creators from the UK and Ireland have around the world.

This year, PRS for Music celebrates its 110th anniversary. PRS was formed in 1914 and just two years later welcomed Ivor Novello as a member; a composer and songwriter whose name has become the embodiment of pioneering creativity and musical excellence. We are proud to have supported The Ivors since its inception and were delighted to accept an Ivor Novello Award to mark our 50th anniversary in 1964.

PRS was formed by music creators to protect and grow the value of their rights in an ever-changing world. A purpose which still sits at the heart of everything we do today. While the challenges of the 21st century differ from those which faced PRS members in the first half of the last century, the necessity to nurture emerging talent and pioneer in the collection and distribution of royalties remains as important as ever. Creative talent must be constantly nurtured, encouraged and rewarded, or it is lost.

We applaud all the nominees this evening, as well as the wider community, and look forward to a celebration of music, creative excellence and the enduring spirit of the songwriting and composition community.

Andrea Czapary Martin PRS for Music CEO

Julian Nott PRS Members’ Council Chair

OUR HOST LAUREN LAVERNE

Lauren Laverne enjoyed a stellar first year as host of the Ivor Novellos last year.

But she actually experienced her first dose of The Ivors’ unique magic the year before, when she was announced as the new host while giving Paul Gambaccini an award to mark his remarkable 34year stint as The Ivors’ presenter.

“I remember standing backstage with Joan Armatrading,” Laverne laughs. “And I said, ‘God, Joan, I’m so nervous, it’s such big shoes to fill’. And she just went, ‘Well, you wear shoes, don’t you?’ She gave me a fantastic pep talk. If you’ve been instructed by Joan Armatrading to just go for it and enjoy it, you’ve got to obey. So, I did!”

Laverne’s first year at the helm certainly produced some wonderful moments, particularly Sting’s induction as an Academy Fellow (“Bob Geldof’s speech has given us something to live up to this year!”). But she was also thrilled to witness the ceremony’s uniquely supportive atmosphere, and the joy of seeing compositions and creatives from all sides of the music industry being acknowledged.

“It’s very special, because you have such a sense of The Ivors’ history,” she says.

“But it’s also plugged into everything that’s happening now and you’ve got the most talented creative people working at the moment in that room with you. It’s the best of the best in every field.”

Laverne also presents on BBC 6 Music’s breakfast show, The One Show and Desert Island Discs and has been a champion of great songwriting throughout her career (she was also a pretty decent writer herself back in the Kenickie days).

She lists her songwriting inspirations as ranging from Randy Newman (“Such a clever, funny, interesting songwriter”),

Joni Mitchell (“One of the great geniuses”) and Sir Paul McCartney (“I love his veneration of the domestic”) through to cutting edge names such as Sault and Inflo.

So, it’s no surprise to hear her advocating for the industry and society in general to acknowledge the contribution of songwriters.

“Ever since downloading, we’ve been having this conversation about the value of music, musicianship and artistry,” she says. “But anxieties about AI have brought that conversation into the mainstream, and made people understand these things a bit more. I certainly hope that people are starting to understand and appreciate the value of songwriting.”

Laverne is excited at the prospect of meeting Bruce Springsteen, who will become the first international songwriter to be made a Fellow of the Academy at this year’s ceremony. But, as far as she’s concerned, all the creatives in the room are winners.

“Ultimately, music is not sport,” she says. “It’s not about who goes the fastest or gets the most goals. Music is an art form. And it’s about those intangible things that are more difficult to measure: feelings and connections”.

“Songwriters help us express who we are, as individuals, as a country, as a culture,” she adds. “And the people who do that really well, their success is not measured in record sales. It’s measured in their influence, their impact, and their cultural footprint.”

Which brings us back to shoes.

And, luckily, in Lauren Laverne, the Academy has found a presenter who’s the perfect fit for The Ivors.

RAYE SONGWRITER OF THE YEAR WITH AMAZON MUSIC

What a year Rachel Keen is having.

The singer-songwriter – now better known to the entire planet as RAYE – has already won a record-breaking six BRIT Awards in 2024 and now she’s picking up Songwriter of the Year at The Ivors.

But then, few have deserved an annus mirabilis as much as RAYE. Not just because her My 21st Century Blues album is a game-changing, planet-conquering blend of R&B, pop, blues and dance music. But also because, prior to her triumphant last 12 months, RAYE had endured a much difficult period.

Frustrated at not being able to release an album, she split with her major label in 2021 and made the bold decision to seize control of her career and release her songs independently.

And what songs they are. My 21st Century Blues was trailed by the brutally honest Escapism., one of those rare singles that was not only a monster hit – a number one single, no less – but also rewrote the DNA of pop music itself.

It was a stunning vindication of a songwriting talent that had previously been kept under wraps, and it was just one element of an album that’s still streaming like there’s no tomorrow, more than a year after its release.

Whether it’s the hard-hitting Ice Cream Man., the bluesinflected Mary Jane., or the furious Hard Out Here., RAYE has mastered the art of combining deeply personal lyrics with tunes that will have you scouring your thesaurus for yet another way of saying “absolute banger”.

It’s this songwriting expertise that reminds you that, however appealing the narrative around her against-the-odds success may be, it’s her actual talent that has under-pinned her deserved rise.

And that, while RAYE may be having an incredible year, you know that there are many, many more incredible years to come for this unique talent.

SONGWRITER OF THE YEAR

congratulations to all our nominees

SKEPTA VISIONARY AWARD WITH AMAZON MUSIC

“They try to steal my vision,” Skepta rapped on his 2015 hit Shutdown. “This ain’t a culture, it’s my religion.”

And, in truth, anybody trying to take on Joseph Adenuga’s concept for modern music success on their own terms would likely struggle. Because Skepta – as he’s much better known – has always dealt in the biggest of big pictures.

Skepta’s musical prowess has never been in doubt since he first began MC-ing back in the 2000s. Throughout his career, he has produced songs and albums so far ahead of their time that they’ve prompted a complete reset of the scene. Think of how his 2007 debut, boldly titled Greatest Hits, declared the arrival of a serious new talent. Or how 2016’s Konnichiwa became a cultural landmark, cleaning up everywhere from his home streets of Tottenham to the Mercury Prize. That year, he also won the Songwriter of the Year Ivor Novello.

But as undeniable as his music has always been, there is much more to Skepta. Early on, he formed grime collective/ record label Boy Better Know with his brother Jme, enabling many artists – including themselves – to break through without having to compromise for the music industry.

When BBK staged a takeover of The O2 in London in 2017, it was a true watershed moment for British Black Music and Boy Better Know made sure the doors stayed open to let a host of other UK artists come through.

No wonder some of the best rappers of the last 20 years have been queuing up to collaborate with Skepta: from AJ Tracey to Drake to Wizkid, he has always matched himself against the best.

In short, as he said himself on 2016’s Corn On The Curb: “I broke down a few more barricades/Got me a few more accolades”.

And, even with the Visionary Award in his locker, you know he’s just getting started.

BRUCE SPRINGSTEEN

ACADEMY FELLOWSHIP

The first ever international songwriter to become a Fellow of The Ivors Academy was always going to be someone very special.

And songwriters don’t come any more extraordinary than Bruce Springsteen, who immediately declared himself a rare writing talent when he burst onto the scene with his 1973 debut album, Greetings From Asbury Park, N.J.

Since then, Springsteen has become an American icon and established himself as one of the most influential and inspirational songwriters of all time.

As anyone who has attended one of his epic live shows can attest, his songbook runs the gamut of emotions and situations, while his many albums have encapsulated the spirit of rock’n’roll like few others before or since.

From youthful love stories to tales of faded small-town glory; from pop smashes to political protest songs; from epic rock anthems to bruised ballads; you’ll find whatever you’re looking for in Springsteen classics from Rosalita (Come Out Tonight) to The River, from Born In The USA to Born to Run, and from Dancing In The Dark to Streets Of Philadelphia. Meanwhile, recent records such as 2019’s Western Stars and 2020’s Letter To You have been amongst the most acclaimed of his storied career.

And while his songs have always represented the authentic voice of blue-collar America, they have long connected with audiences beyond the United States, especially here in the UK, making him the perfect first international recipient of the Academy’s highest honour in its 80-year history – an award Springsteen says he is proud to receive.

“The award stands as a tribute to the fans and friends who have supported me and my work for the last 50 years,” he said. “This entire country has made me feel welcome every step of the way.”

And with this unprecedented award for a phenomenal songwriter, you can expect this particular UKUS ‘special relationship’ to only get stronger.

DEL REY

At a time when all too many music careers burn brightly but briefly, it takes a rare talent to still be growing – both creatively and commercially – almost 20 years into their career.

But that’s exactly where Lana Del Rey finds herself in 2024. Her latest album, the highly acclaimed Did You Know That There’s A Tunnel Under Ocean Blvd, was nominated for the Album Of The Year Grammy and became her sixth number one album in the UK.

Indeed, Del Rey has enjoyed star status in Britain ever since Born To Die hit the top slot back in 2012, and last year she headlined her biggest ever live show at the BST Hyde Park festival, across the road from today’s Ivors venue, putting in a mesmerising performance.

That makes her the ideal recipient for this award, which also serves as fitting acknowledgement of a songwriting career that manages to have both an ultra-modern appeal – Del Rey songs are huge on TikTok – and to throw back to the days when the idea of albums as full artistic statements ruled the roost.

Del Rey, like many of the greatest artists, is constantly developing her sound, but always remains demonstrably herself. And it’s an approach that has thrown up classic song after classic song; from her gloriously hazy 2011 breakthrough hit, Video Games, to last year’s complex, Grammy-nominated A&W, via the intoxicating likes of Summertime Sadness, Young And Beautiful, Ultraviolence, White Dress and many, many more.

No wonder she’s in demand to work with the greatest artists on the planet; collaborating with everyone from Taylor Swift to The Weeknd.

And no wonder, despite all the amazing songs and glittering accolades she’s collected along the way, the most mind-blowing Lana Del Rey project is always likely to be whatever she does next.

laNA DEL REY

Congratulations and TaP Music Management on receiving The Ivors Special International Award from Universal Music Publishing, Interscope Records and Polydor

on receiving The Ivors Award for Outstanding Contribution to British Music

Brian Eno Disney

Eg White

Harry Styles Ice Spice

Ines Dunn Kid Harpoon and to all our nominees

from Universal Music Publishing

KT TUNSTALL

OUTSTANDING SONG COLLECTION WITH PRS FOR MUSIC

As you might expect from an artist whose debut album was called Eye To The Telescope, KT Tunstall has always had a long range vision for what has become a truly exceptional songwriting career.

The Scottish singer-songwriter enjoyed huge breakout success with that five-times platinum, Mercury Prizenominated debut but, despite all the millions of records she has sold and the awards she was won in the years since, Tunstall has always remained focused on her artistry.

That’s why her remarkable career has included everything from massive pop hits to boundary-pushing LPs to esoteric movie soundtracks and songs for emotional stage musicals.

So there’s the KT Tunstall of Suddenly I See fame, a huge hit on both sides of the Atlantic that has also featured on many a film/ TV soundtrack and even on Hillary Clinton’s Presidential campaign.

But there’s also the boundary-pushing KT Tunstall of 2010 album Tiger Suit, a pioneering mix of organic and electronic sounds; 2013 follow-up Invisible Empire // Crescent Moon, equal parts melancholy and ethereality; and her highly acclaimed ‘soul, body and mind’ album trilogy of Kin (2016), Wax (2018) and Nut (2022).

And there’s the KT Tunstall that has contributed to soundtracks for films as varied as Winter’s Tale and Bad Moms, as well as writing the songs for the stage musical version of Saving Grace

Throughout it all, Tunstall has maintained an enviable level of quality control and an uncanny ability to write the perfect song for the moment, whatever medium she’s operating in at the time.

No wonder she’s picking up her second Ivor Novello Award (the first was for Suddenly I See in 2006) for her consistently outstanding body of songs. But you know that, amidst all the acclaim, KT Tunstall will still have one eye on that telescope, looking to her songwriting future.

KT TUNSTALL

Van Straten Solicitors

C gratulation o s KT Co Cong on Con rrat atul u atio tions KT s T! ! Congratulations KT!

Congratulations on receiving the ‘Outstanding Song Collection with PRS for Music’ Ivor Novello Award - a truly fitting honour.

It’s been a privilege knowing & working with you for over 20 years, here’s to the next 20 years of wonderful songs!

Love Adam Van Straten & all of us at Van Straten Solicitors, Mansour, Raphael, Connie & Elysia

FOR YOUR OUTSTANDING CONTRIBUTION TO BRITISH MUSIC AWARD

LOVE ELTON & DAVID

BERNIE TAUPIN OUTSTANDING CONTRIBUTION TO BRITISH MUSIC

When Bernie Taupin was inducted into the Rock & Roll Hall of Fame last year, his friend and songwriting partner Sir Elton John was by his side – just as he has been for most of their supremely productive, seven-decade-spanning collaboration.

“Without Bernie Taupin,” Sir Elton declared, “there wouldn’t have been any Elton John at all.”

And he had a point. Sir Elton’s showmanship may grab the headlines, but their partnership was always built on the most solid songwriting foundations, with Bernie Taupin’s quiet lyrical genius at its core.

Thrown together by chance after they both answered the same 1967 small ad for songwriters, they went on to forge one of the most successful songwriting partnerships in rock history, responsible for hundreds of millions of record sales and billions of streams.

And Sir Elton’s recent retirement from touring also served as a memorable showcase for Taupin’s turn of phrase. He is, after all, the man who wrote the lyrics to Rocket Man, Tiny Dancer, Candle In The Wind, I’m Still Standing, I Guess That’s Why They Call It The Blues and countless other songs that have soundtracked the big moments in people’s lives across the planet.

Over the years, Taupin has also done great work with musicians as varied as Alice Cooper, Starship, Brian Wilson and Courtney Love, as well as solo projects, film soundtracks and work in musicals.

But it’s the partnership with Sir Elton that has endured through the ages and that will echo into the future. Even Elton’s 2019 biopic, Rocketman, featured an original composition with Taupin, (I’m Gonna) Love Me Again, which won the Best Original Song Oscar.

So it’s fitting that today, Bernie Taupin receives his own accolade from the home of songwriting. After all, as he wrote on Elton’s international breakthrough hit, Your Song, back in 1970: “My gift is my song – and this one’s for you.”

BEST ALBUM

Celebrating British or Irish written albums that demonstrate creative consistency and exceptional songwriting and were released in the UK in 2023.

BLACK CLASSICAL MUSIC

written by Yussef Dayes, Rocco Palladino and Charlie Stacey performed by Yussef Dayes music published in the UK by YD MusicKobalt Music Publishing and Sentric Music

CRAZYMAD, FOR ME

written and performed by CMAT music published in the UK by BMG

FALSE LANKUM

written by Daragh Lynch, Ian Lynch, Cormac MacDiarmada and Radie Peat performed by Lankum music published in the UK by Beggars Music

LAHAI

written and performed by Sampha music published in the UK by Young Songs-Sony Music Publishing

MY 21ST CENTURY BLUES

written by RAYE and Mike Sabath performed by RAYE music published in the UK by Warner Chappell Music Ltd and Sony Music Publishing

BEST CONTEMPORARY SONG

Celebrating outstanding originality in British or Irish written songs that were released in the UK in 2023.

BACK ON 74

written by Lydia Kitto, J Lloyd and Tom McFarland performed by Jungle music published in the UK by Verdigris Publishing-Sony Music Publishing and Kobalt Music Publishing

ENOUGH

written by Brian Eno, Fred Gibson, Buddy Ross and Winnie Raeder performed by Fred again.. and Brian Eno music published in the UK by Universal Music Publishing, Promised Land Music-Sony Music Publishing, Heavy Duty-Kobalt Music Publishing and Warner Chappell Music Ltd

GERONIMO BLUES

written by Kwake Bass, Peter Bennie, Biscuit, Raven Bush and Kae Tempest performed by Speakers Corner Quartet feat. Kae Tempest music published in the UK by Warp Publishing and Domino Publishing Company

MAMA’S EYES

written by Todd Dulaney, Ines Dunn, Barney Lister and METTE performed by METTE music published in the UK by MNRK Music Publishing, Universal Music Publishing, Promised Land Music-Sony Music Publishing and Warner Chappell Music Ltd

WATER

written by Imani ‘Mocha’ Lewis, Corey LindsayKeay, Jackson Lomastro, Ari PenSmith, Rayo, Sammy SoSo and Olmo Zucca performed by Tyla music published in the UK by Always Forward Thinking-Kobalt Music Publishing, Warner Chappell Music Ltd, Concord Music Publishing and Sony Music Publishing

BEST SONG MUSICALLY AND LYRICALLY

Celebrating British or Irish written songs that demonstrate excellence in songwriting craft and were released in the UK in 2023.

BLACK FRIDAY

written by Laurie Blundell, Max Clilverd and Tom Odell performed by Tom Odell music published in the UK by Kobalt Music Publishing-UROK Music Publishing

BLACK SWAN

written by Victoria Canal, Jonny Lattimer and Eg White performed by Victoria Canal music published in the UK by Second SongsSony Music Publishing, Warner Chappell Music Ltd and Universal Music Publishing

SPIRIT 2.0

written by Yussef Dayes and Sampha performed by Sampha music published in the UK by YD Music-Kobalt Music Publishing and Young Songs-Sony Music Publishing

SUNSHINE BABY

written by Amber Bain performed by The Japanese House music published in the UK by Dirty Hit Songs-Kobalt Music Publishing

THE NARCISSIST

written by Damon Albarn, Graham Coxon, Alex James and Dave Rowntree performed by Blur music published in the UK by Sony Music Publishing and Extra Mile Music-BMG

PRS FOR MUSIC MOST

PERFORMED WORK

Celebrating songs that resonated with the public in 2023, receiving the most broadcast, online and general performances, according to the relevant data supplied to PRS for Music.

AS IT WAS

written by Kid Harpoon, Tyler Johnson and Harry Styles performed by Harry Styles music published in the UK by Universal Music Publishing and Pulse SongsConcord Music Publishing

BOY’S A LIAR PT. 2

written by Ice Spice, Mura Masa and PinkPantheress performed by PinkPantheress and Ice Spice music published in the UK by Universal Music Publishing, BMG and Sony Music Publishing

GIVING ME

written by Conor Bissett, Robert Griffiths and Jazzy performed by Jazzy music published in the UK by Sony Music Publishing

SPRINTER

written by Central Cee, Dave, Jo Caleb and Jonny Leslie performed by Dave and Central Cee music published in the UK by Sony Music Publishing, Warner Chappell Music Ltd and Kobalt Music Publishing and Kobalt Music Publishing

STRANGERS

written and performed by Kenya Grace music published by Warner Chappell Music Publishing Ltd

ASCAP

CONGRATULATES OUR 2024 IVOR NOVELLO AWARD WINNERS AND NOMINEES THANK YOU FOR YOUR BRILLIANT MUSIC!

Arthur Sharpe

Barney Lister

Blair Davie

Carly Paradis

Central Cee

Chrissi

CMAT

Daniel Pemberton

Dave Eg White

Elmiene

Gordy Haab

Imani ‘Mocha’ Lewis

Ines Dunn

Jazzy

Jerskin Fendrix

Jo Caleb

Jonny Lattimer

Jonny Leslie

Jungle

Kae Tempest

Kenya Grace

Laurie Blundell

Martin Phipps

Max Clilverd

METTE

PinkPantheress

Sampha

Speakers Corner Quartet

Tom Odell

Toydrum

Tyla

Victoria Canal

Walter Mair

Winnie Raeder

Yussef Dayes

SPECIAL HONOREES

Bernie Taupin | Lana Del Rey | Skepta

RISING STAR WITH AMAZON MUSIC

Recognising young songwriting talent who demonstrate exceptional potential, ambition and have begun to capture the imagination of the music creator community.

2024 marks the fifth year of the Ivor Novellos’ Rising Star Award with Amazon Music – and in that time, plenty of stellar songwriters have already risen and shone.

Indeed, over the past half decade, the award has become one of the music industry’s most reliable conveyor belts of talent, with previous nominees and winners including the likes of Holly Humberstone, Cat Burns, Griff, venbee, Rachel Chinouriri and PinkPantheress.

That those and many others have gone on to write hit records, sell out tours and pick up other awards – at a time when finding that elusive musical breakthrough is tougher than ever – is testament to the deep reserves of young songwriting skills found throughout the UK and Ireland.

And this year is no exception, with 2024’s Rising Star nominees showcasing an astonishing range of songwriting ability that suggests they too will soon join the pantheon of greats that have preceded them. Indeed, no matter who actually picks up the gong today, you can expect these five stars to keep on rising…

Take BLAIR DAVIE for example. Songs such as Stairs and Right Love Wrong Time have already won over fans including Coldplay’s Chris Martin, who recently urged Davie to “keep going and believe in yourself because I believe in you”.

Davie has mined a rich seam of supremely candid selfexpression, admitting: “I used to have to bear the depths of my soul, the deepest and darkest parts of me, in order to come out with the most vulnerable and honest songs.”

That led to the discovery “that honesty and vulnerability are superpowers” but, these days, Davie is “trying to chase magic” in their songwriting by “seeking joy in my life” and collaborating with others.

It seems to be working. Davie has become one of 2024’s most hotly tipped singer-songwriters and sees the Rising Star shout as a sign that “you are on the right path and the work is being recognised”.

“It’s been wonderful this year to really feel like the momentum is building,” Davie adds. “I’m becoming the artist I’ve always wanted to be.”

CHRISSI, meanwhile, realised what type of songwriter she wanted to be when attending her first Ivors in 2021, resolving to “have a nomination for Rising Star by 2025”.

No wonder she declares herself “over the moon” at having achieved that ambition. Not that you’ll find much similarly boundless joy in her songwriting: Chrissi has built an enviable reputation for emotionally raw lyrics on the likes of Stupid Little Girl and Love Me In Chapters.

“My songwriting style is very honest in an ugly way - but it’s framed with pretty melodies,” she says. “I love to write sad songs; I normally start with the emotion I’m feeling and take the more realistic approach.”

That method is certainly paying off, with Chrissi having already collaborated with Rising Star alum Rachel Chinouriri. On Chrissi’s wishlist for the future: stadium tours and writing for artists she loves, from Sam Fender to Haim. Although she also notes: “Overall, I just want to write sad stuff and make people feel normal for having similar emotions.”

OUR 2024

IVOR NOVELLO AWARD NOMINEES

PRS for Music Most Performed Work “As It Was” by Harry Styles

TYLER JOHNSON

Best Contemporary Song “Water” by Tyla

SAMMY SOSO

ELMIENE is already keeping some impressive company. The soulful singersongwriter has collaborated with Stormzy, Sampha and James Vincent McMorrow, while Louis Vuitton used his song Golden to soundtrack one of its shows. But he’s particularly delighted to have The Ivors recognition.

“The part of making music I take most pride in isn’t my voice; it’s my ability to write and express the weird ideas to paper,” he says. “Nothing feels better than when someone expresses interest in what I’m trying to say.”

You can expect that attention to soar in future, with tracks such as Someday and Remember destined to attract anyone who appreciates top quality songwriting.

Elmiene describes his writing process as “filtering my very normal emotions through my very not normal brain” and cites Prince as his ultimate inspiration.

“He was always looking at the bigger picture of his existence as an artist,” Elmiene says. “And that’s what I want; a massive vault of everything from demos to finished albums that will let me explore every itch I’ve ever wanted to artistically scratch.”

Similarly ambitious is MASTER PEACE: after all, you can’t have a stage name like that without backing it up – and his songwriting certainly lives up to its billing.

“I really want to achieve ‘greatness’,” he declares. “I feel like it’s a matter of time until people believe in what I’m trying to achieve.”

Many already do. His music is an eclectic grab bag of influences –from funk to punk, grime to indie rock – while Peace’s boundless energy and unfiltered lyrics on anthems such as I Might Be Fake and Shangaladang have helped him win over a whole Peace Corps of devotees, including The Streets’ Mike Skinner.

“I don’t think my music sounds like anyone else,” Peace says. “There’s a rhythm and swag to it that pushes songwriting forward to a place I haven’t seen many artists push in a very long time. It’s go hard or go home with me and I’m very motivated to be the best I can be.”

No wonder the world is now waiting for a career full of Master Peace masterpieces.

NINO SLG is also crafting a unique musical blend. Already, he is surely the only musician to ever be supported by both Stormzy – who dubbed him an artist to watch last year – and Twinings tea, which used Prison Walls on an ad campaign.

He sees The Ivors recognition as “a huge accolade” and “a symbol of progress in my career”. That development is also evident in his music, which he describes as “genuine and diverse, with influence derived from my love for poetry”.

And, indeed, while his rapping on consummately executed songs such as House Invasions and LSOM is fierce, his lyrics are always socially conscious and beautifully expressive, while a quick reading of the songwriting tea leaves suggests there is much more to come.

“I aspire to write incredible albums and create great bodies of work,” he says. “As an artist, I push myself to create music which helps other people’s lives. If I can achieve an impact on the world through my work, that will display great success.”

And that’s a sentiment that echoes across The Ivors Rising Star Class of 2024: five great songwriters surely destined to become everybody’s favourite brew.

BEST ORIGINAL FILM SCORE

Celebrating outstanding British or Irish composed music that was specifically crafted for a feature film released in the UK in 2023.

POOR THINGS

composed by Jerskin Fendrix music published in the UK by Sony Music Publishing

SPIDER-MAN: ACROSS THE SPIDER-VERSE

TYPIST ARTIST PIRATE KING

composed by Daniel Pemberton music published in the UK by Sony Music Publishing

composed by Carly Paradis

BEST ORIGINAL VIDEO GAME SCORE

Celebrating outstanding British or Irish composed music that was specifically written for a video game released in the UK in 2023.

CALL OF DUTY:

MODERN WARFARE III composed by Walter Mair

STAR WARS JEDI:

SURVIVOR

TIN HEARTS

UK

composed by Stephen Barton and Gordy Haab music published in the

by Universal Music Publishing

composed by Matthew Chastney music published in the UK by Sentric Music

BEST TELEVISION SOUNDTRACK

Celebrating outstanding British or Irish composed music that was specifically written for a televised broadcast in the UK in 2023.

BOAT STORY

composed by Dominik Scherrer music published in the UK by Du Vinage Publishing and Sony Music Publishing

SLOW HORSES SEASON 3

composed by Daniel Pemberton and Toydrum music published in the UK by Apple-Sony Music Publishing and Cross City Music Limited-Cutting Edge Group

THE CROWN THE FINAL SEASON

composed by Martin Phipps music published in the UK by Du Vinage Publishing and Sony Music Publishing

THE FOLLOWING EVENTS ARE BASED ON A PACK OF LIES

composed by Arthur Sharpe music published in the UK by BDi Music obo Sister Pictures and Rights Worldwide

THREE LITTLE BIRDS

composed by Benjamin Kwasi Burrell

For 69 years songwriters and composers from The Ivors Academy and our predecessors have judged Ivor Novello Awards, honouring their peers for outstanding craft and achievements in songwriting and composing.

As champions of all songwriters and composers, the support and recognition we provide extends far beyond our awards.

We exist to promote creativity by nurturing songwriting talent, defending their rights, enabling writers to have successful careers, and demanding a fair, just and equitable music industry.

We do this through education, campaigns, mentoring and bringing the community together.

Membership is open to all songwriters and composers in the UK and Ireland.

ivorsacademy.com/membership

THE JUDGES

An Ivor Novello Award represents peer recognition.

The Ivors Academy would like to thank all who sat on this year’s award panels:

Joan Armatrading • Mat Andasun  • Neil Dinar Athale

Hannah  Barnett  • Bashy • Robin Beanland  • Steve Booker

VV Brown  • Cat Burns • Sarah Class  • Andrew Clutterbuck

Miranda Cooper  • Joy Crookes • Catherine Anne Davies

George Daniel • Peter Edwards  • Emmy the Great • Harry Escott

Simon Franglen • Hannah V  • Blaine Harrison • Gavin Harrison

Alexandra  Harwood • Luci Holland  • Jeremy Holland‑Smith

Eve Horne • Kwabs  • Jolene Khor • Kal Lavelle  • Jade Leamcharaskul

Helen Lynch  • Sarah Lynch • Katie Melua  • Troy Miller • Joe Newman

Anne Nikitin • Carlos O’Connell  • Shelly Poole • Joel Pott

Chris Roe • Kojo Samuel  • Jack Savoretti • Jamie Scott

Kate Simko • Alexis Smith  • Biff Stannard • Swindle  • Gary Yershon

OUR AWARD JUDGING

Ask anyone who’s ever won an Ivor Novello what makes the award so meaningful, and chances are they’ll talk about how special it is to be recognised by a jury of their peers.

But how much do people actually know about a process that has honoured the greatest songwriters and composers of the last 69 years?

Well, Ivors Academy Director of Awards Fran Matthews has been working on The Ivors for 15 years and knows the procedure inside out.

“It’s really quite unique to have a group of people come together who have no vested interests and who get no payback for the time that they give,” she says. “The judges

just want to encourage, acknowledge and celebrate something extraordinary.”

The Ivors’ call for entries usually attracts around 300 entries across the song categories, plus 100 odd albums and 50‑100 entries in the specialist film, TV and video game music classifications.

Each award is allocated a panel of seven volunteer judges, selected across a broad range of genres, experiences and backgrounds, but all with high level experience of the category they’re judging. Over four to six weeks, they review all eligible entries in isolation before voting for their favourites.

“People make the initial decision themselves,” says Matthews. “But it’s incredible how much cohesion there

Ivors Academy Director of Awards Fran Matthews

often is; out of 150 albums, there’s always a certain number where everyone has gone, ‘That just blew me away’.”

That leaves around 15 entries to be considered in the final Zoom judging sessions, which can ignite considerable passion. Matthews – who acts as facilitator but has no decision making powers – notes what a privilege it is to “listen to songwriters talk about the craft, skill and originality that they see” in the submissions.

“It isn’t something to be taken lightly,” agrees legendary singer‑songwriter Joan Armatrading. “Winning an award is, in effect, validation from your peers. It says, ‘I admire what you have achieved’.”

The weight of The Ivors’ history means every entry receives the attention it deserves, with composer Simon Franglen recalling “vigorous discussions of the 60 scores, arguing their merits with passion for the quality of the music” during his “eye opening” time on the panel; while alt J’s Joe Newman

Joe Newman

Joan Armatrading

confesses to finding the prospect of judging “daunting at first”.

“The Ivors award excellence in music and songwriting so to join the panel on this year’s crop was an honour,” Newman adds. “And to do it alongside my contemporaries was a real joy.”

Matthews recalls one judge running 90 minutes late for an arena headline show sound check because they were so absorbed in the process, but it’s clear the prestige of The Ivors means it’s worth going the

extra mile (even if you have to take a motorbike taxi to get there).

“It’s so important, especially in the creative industries, to have peer judged awards,” declares recent judge Joy Crookes. “The Ivors feels like a space where music is safeguarded from commodification which, in this current landscape, feels vital.”

And that’s why an Ivor Novello Award means so much – to organisers, judges, nominees and winners alike.

Simon Franglen Joy Crookes

WHERE PREPARATION MEETS OPPORTUNITY

Success, they say, is where preparation and opportunity meet. And certainly, the Rising Star Award with Amazon Music programme’s approach of presenting well-prepared new songwriters with amazing opportunities seems to be paying off.

Victoria Canal, winner of the Rising Star Award with Amazon Music 2023

One previous nominee, PinkPantheress, returns this year as a contender in the Most Performed Work category. Last year’s winner, Victoria Canal, will return to The Ivors after a whirlwind 12 months, hailing the “recognition and support” that helped her “grow and create”. And, overall, the programme has been more than following its brief to accelerate the careers of exceptional under-25 songwriters.

“The Ivors Academy and Amazon Music made it possible for me to make music in ways I would never have been able to; funding trips to Transylvania, LA and Nashville,” says 2023 nominee Ines Dunn. “I was able to meet some of my most treasured collaborators for the first time and write songs I am so proud to have written. It has been magical.”

Ivors Academy Programmes Manager Jévis Lawson describes PinkPantheress’ return as “a full circle moment”, adding: “The programme is in a great place – and we have room for growth.”

Amazon Music’s arrival as partner last year has certainly helped the programme reach the next level.

“The Ivors Academy is at the forefront of providing talent development opportunities in the UK,” says Tom Winkler, Head of Songwriter, Publisher and Society Relations at Amazon Music. “It supports emerging music creators at vital stages of their careers and helps them to rise above the saturation, especially when it’s difficult to break through. It’s important for organisations like The Ivors Academy and Amazon Music to continue to invest in talent development programmes, especially when it seems broad access to such resources and tools has continued to wane.”

Winkler notes that – unlike at some awards ceremonies – the Rising Star prize is proudly front-and-centre at The Ivors ceremony.

But, while that platform is huge, the Amazon exec says it’s important to back it up with a customised support programme.

“There’s not a one-size-fits-all approach for music creators,” he says. “Looking at two nominees we’ve worked with in the last 12 months, venbee was writing her debut album and supporting her recent streaming hits on tour. Whereas Ines Dunn was focused on writing songs for other artists. Therefore, we developed an individual plan for each artist that supported their specific goals.”

For example, venbee was whisked off to Nashville for what she describes as “an incredible writing session”, adding that “the programme has opened doors and given me great opportunities”.

No wonder Lawson pledges the programme will be “doubling down on our support”.

“Globalising opportunities for developing artists is essential when music innately doesn’t have borders,” Winkler says.

“Transylvania, Nashville, Toronto… the mission is to expand the Rising Stars’ network to new communities of music creators wherever they are located.”

This year’s crop of ascending stellar entities – Blair Davie, Chrissi, Elmiene, Master Peace and Nino SLG – will soon be feeling the bespoke benefits of such ambition. But ultimately, the aim is to boost awareness of songwriting, full stop.

“We’re always trying to raise visibility for those behind the music,” says Winkler. “If we thought that visibility was buried in vinyl liner notes, it’s even more hidden in a digital world. Our partnership with The Ivors is all about supporting the art of songwriting and amplifying it globally.”

What’s that sound? It’s opportunity knocking…

FIFTY YEARS WITH THE IVORS

Mike Wilson has been over-seeing the creation of The Ivors’ distinctive statuettes for 50 years this year. Here, he talks us through the history of this remarkable manufacturing process…

Back in 1974, at the age of 31, I had become disillusioned with working for two large companies and decided to have a go with my own business. I saw a non ferrous foundry advertised for sale in the local newspaper, and this piqued my interest, having had some involvement with the iron foundry at my then employers.

I bought it! It was operating in the disused Co op funeral stables behind a North London parade of shops, where it had commenced operation in 1947, as Victoria Foundry.

I was the third owner and inherited a real mishmash of jobs and a heap of what turned out to be obsolete patterns. I also discovered that the foundry had produced the Ivor Novello

Awards, so I contacted the organisers, only to be told that I was not going to make them, because there had been such big problems the previous year.

I pleaded that I was the new boy and was granted a meeting with the mistress of The Ivors, whom I persuaded to give me a chance, just for that year. If we did not perform, we would be out. That was 50 years ago, and so I should like to thank Lesley Bray for her faith in me.

That year the hand finishing of the statuettes was due to be done by a local gentleman who had previously done the work. Tragically he suddenly died, and I was landed with a real problem. We had to do it ourselves, and – together with my foundry manager, Russell Lucas – we did it. It really was a case of learning by trial and error, and a bit of panic, but we had the awards ready for collection on time.

The artist Hazel Underwood – then a student at St Martin’s School of Art – had designed the award, with its distinctive

SPEAKERS CORNER QUARTET

Ivor Novello Award Nominee 2024

Best Contemporary Song

Geronimo Blues (feat. Kae Tempest)

WARP PUBLISHING

depiction of Euterpe, the Greek muse of singing and lyric poetry. The awards were first presented in 1956, and Hazel initially supervised their production as a lost wax casting. By the time that I became involved, it was being made by a foundry called Corinthian Bronze, which took over Victoria Foundry, to become Corvic.

At that time, nearly 20 years after those first awards, it had become a sand casting, for reasons lost in time. Sand casting gives a far inferior finish and reproduction of detail, compared to the original lost wax process, and requires a lot more hand finishing. We were not able to do lost wax, but we did do sand casting and that is the way it remained for the next 30 years.

After 1977, I was invited to the awards at the Grosvenor House Hotel, which involved a battle through the traffic on the Finchley Road, with the awards in the car, and then setting them out on tables (which were sometimes not there). The Ivors were not the beautifully organised production they are today, but they happened. Soon my wife Sue was invited along and acted as guardian whilst I parked the car. There was a lot of carrying of statuettes, and sore backs, before we discovered the jumbo lift, which goes from the street right down to the Great Room, where the presentations are made.

We continued to produce the awards as bronze sand castings until 2005, by which time it was becoming apparent that the days of the small jobbing foundry were coming to an end. At this point I decided to close my foundry and, simultaneously, BASCA (now known as The Ivors Academy) asked if we could return the award to the appearance that it had as a lost wax casting in the 1950s.

Yes, I said, but at a cost, and I began the search for a lost wax foundry that could do the work. After a near disastrous start, and two years of problems, we found Tony Buckland and Investacast in 2009. They have now made the raw castings for us for the past 15 years and, although Tony has now retired, they continue to make the best castings in the history of The Ivors.

In order to make the change, we required a good example of an early Ivor Novello Award, to use as a pattern. We initially worked from one awarded to the legendary Tony Bennett, kindly made available by his daughter, but the result was pronounced “not good enough” by her friend, the sculptress, Hazel Underwood. Small world!

We then managed to borrow an Ivor presented to renowned jazz composer Johnny Dankworth in 1957, the second year of the awards, before the quality had begun to deteriorate. The statuettes that we make today are thus faithful replicas of those that were presented nearly 70 years ago. They are detailed and finished by me, in my workshop in Gloucestershire. The inscription plates have been engraved by Bob Smith for the last fifty one years, I’m thankful to Bob as my friend and business associate of the longest standing.

I am proud to have been responsible for the production of Ivor Novello Awards for half a century, and to have steered them back to the standard envisaged by the sculptress so long ago. I’d like to thank The Ivors Academy (and their predecessors BASCA) and PRS for Music, for the opportunity to contribute to the world of music in this way.

The Ivors Academy Trust is a registered, standalone charity that works closely with the Ivors Academy.

Our mission is to support composers and songwriters in various ways, particularly those music creators facing financial and other barriers. Through our support we nurture, educate and empower them via a number of initiatives including educational programmes, scholarships and bursaries.

We want all aspiring music creators to be able to fulfil their potential and build lifelong careers in music.

To keep making our impact, we need your help. Just a small donation can help music creators access life changing opportunities and contribute to creating the inclusive, diverse and thriving music community we all want to see!

Michelle Escoffery Chair of The Ivors Academy Trust and Ivor Novello Award winning songwriter and singer

INSIDE TRACK

Inside Track is a year-long development programme founded by Ivor Novello Award winning songwriter and producer Cassell the Beatmaker and funded by The Ivors Academy Trust and PPL. It provides creative and career opportunities to four participants from underrepresented groups and/ or creators who are facing significant barriers to accessing the music industry.

The programme provides development time in the studio, mentoring, networking opportunities and career support. Inside Track also includes a live performance event for the creators to showcase their work and celebrate their accomplishments.

The live show is taking place on the 12th of

REGISTER YOUR INTEREST FOR THE LIVE SHOW NOW!

THE IVORS ACADEMY WISHES TO THANK

Amazon Music our title sponsor

PRS for Music  for their category sponsorship

Lauren Laverne our host

This year’s award presenters

Gene O’Connell & Capitol House Productions for the stage production

Annabel Fitzgerald  Vicky Madden & team for stage and floor management

Steam Motion & Sound for the video production

Matt Everitt our voice over artist

Swindle for composing The Ivors theme music

PPL & VPL for the kind permission to use sound and video recordings

Everyone who granted permission & contributed visual material to the award films

Mike Wilson & Meltcharm Products Ltd for our exquisite statuettes

Pete Compton our Independent Adjudicator

Anna Bailey & team at the Grosvenor House

Pace Prestige Services Ltd

Nathan Diamond, Henry Oliver & team at LD Communications

Hogan Media & Jill Furmanovsky for our official photography

Grey Moth for filming our official interviews

John Marshall & Will Amery at JM Enternational for the programme design and production

Judith Rivers at Rivers & Associates for our advertising sales

Mark Sutherland for writing our editorial Fingerprint for printing

The Playground for our design

All the staff at The Ivors Academy & ushers volunteering on the day

OFFICERS OF THE IVORS ACADEMY

ACADEMY BOARD

Fiona Bevan • VV Brown (observer) • Rebecca Ferguson

Lea Gatt (shared role) • Tom Gray (Chair) • Eve Horne

Freddie Kofi • Emma McClarkin • Julia Montero (Deputy Chair) • Ailís Ní Ríain • Bankey Ojo • Anna Phoebe

Orphy Robinson (Deputy Chair) • Kevin Sargent • Renell Shaw • Oliver Vibrans (observer) • Olli Wells (shared role) • Imogen Williams • Ayanna Witter Johnson

CHIEF EXECUTIVE OFFICER Roberto Neri

ACADEMY SENATE

Mat Andasun • Iain Archer • Lorne Balfe • Justine Barker

Claire Batchelor • Fiona Bevan • VV Brown • Alexander

Campkin • Richard Cassell • Lloyd Coleman • Catherine

Anne Davies • Nathan Dearden (observer) • Rebecca

Ferguson • Lea Gatt • Mark Gordon • Jake Gosling

Tom Gray (Chair) • Thomas Hewitt Jones • Crispin Hunt

Eve Horne • Marlon James Edwards • Jin Jin

Ilā Kamalagharan • Melpomeni Kermanidou

Freddie Kofi • Christian McCabe (observer)

Emma McClarkin • Julia Montero • Anna Neale

Ailís Ní Ríain • Sandy Nuttgens • Bankey Ojo

Hannah Peel • Anna Phoebe • Lynne Plowman

Karine Polwart • Orphy Robinson • Kevin Sargent

Mika Sellens • Renell Shaw • Andy Skinner (observer)

Hannah V • Oliver Vibrans • Olli Wells • Imogen

Williams • Ayanna Witter Johnson • Jason Yarde

ACADEMY AWARDS COMMITTEE

Mat Andasun • Iain Archer • Martha Lewis

Sandy Nuttgens • Bankey Ojo • Anna Phoebe

Orphy Robinson (Chair) • Renell Shaw • Imogen Williams

AT THE IVORS ACADEMY

Chief Executive Officer, Roberto Neri

AWARDS

Director of Awards, Fran Matthews

Senior Awards Manager, Cindy Truong

Awards Manager, Tilly Flynn

Awards Coordinator, Kate Spiers

MEMBERSHIP MARKETING & COMMUNICATIONS

Director of Membership, Marketing & Communications, Mark Taylor

Senior Events Manager, Grace Croucher

Marketing & Communications Manager, Anna Brown

Membership Manager, Tareic Alphonse

Programmes Manager, Jévis Lawson

Membership Administrator, Charlie Withers

OPERATIONS & PUBLIC AFFAIRS

Accounts Assistant, Alison Tickner

Senior Operations Director, Laura Moreno

Governance and Admin Manager, Maria McMillan

Executive Personal Assistant to CEO, Amy Leadbetter

Public Affairs and Campaigns Coordinator, Paul Mortimer

Council and Office Coordinator, Will Davenport

Accounts Assistant, Alison Tickner

The Ivors and Euterpe (The Ivors Statuette, designed in 1955 by Hazel Underwood) are trademarks belonging to the British Academy of Songwriters, Composers and Authors, trading as The Ivors Academy.

Persons wishing to reproduce or use these marks must secure the written consent of The Ivors Academy prior to use.

Although every effort has been made to ensure the accuracy of the information contained within this publication, The Ivors Academy cannot be liable for errors or omissions No part of this publication may be reproduced without the written permission of The Ivors Academy.

PRESENTATION ORDER

LUNCH 3.00pm

AWARDS CEREMONY 5.00pm

Best Television Soundtrack • Rising Star Award with Amazon Music • PRS Most Performed Work

Best Original Video Game Score • Best Album Visionary Award with Amazon Music

IN MEMORIAM

Best Contemporary Song  • Best Original Film Score Outstanding Song Collection with PRS for Music

Best Song Musically and Lyrically • Special International Award • Outstanding Contribution to British Music • Songwriter of the Year with Amazon Music • Academy Fellowship

DEPARTURES 7.30pm

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