OUR AWARD JUDGING

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 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 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.

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.

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.

“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.”

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…