Fender’s win felt both predictable and inevitable. There was a sense throughout the night that this would be his moment, and when it came, it didn’t disappoint. Some might argue the outcome was obvious, but that didn’t cheapen it. If anything, it strengthened the sense of occasion. This was a win for the North East, and the first Mercury Prize ceremony to take place outside London made it all the more meaningful.
The performances were a celebration of just how diverse the British music scene continues to be. Pulp opened the show beautifully with ‘Spike Island’, Jarvis Cocker effortlessly commanding the stage. FKA Twigs’ ‘Eusexua’ was hypnotic and bold, Wolf Alice’s Ellie Rowsell captivated with power, and Emma-Jean Thackray delivered one of the night’s most intriguing sets. It was a shame CMAT couldn’t perform, but at least Newcastle fans won’t have long to wait for her return next month.
Fender’s own performance of ‘People Watching’ was even more powerful the second time around. Maybe it was the emotion of the win, or the pride of performing in front of a home crowd, but it felt triumphant: a moment that perfectly captured why this night mattered.
It felt triumphant: a moment that perfectly captured why this night mattered.
For one evening, the spotlight shifted away from London and shone on a region too often overlooked in the music industry. And as the crowd celebrated a local hero’s victory, it felt like something bigger than a trophy, a moment of recognition for the North itself.
Amelia Thompson, Music subeditor.
For me, attending The Mercury Prize felt unimaginable. The sheer capacity of the event, along with the attendance of artists I have admired for years, felt more esteemed than any event I've attended before. There truly is a different atmosphere at an awards show, a taste of tension in the air that just makes it even more thrilling.
A taste of tension in the air that just makes it even more thrilling
Every album nominated felt carefully curated and artistically detailed, and their performances showcased this. Pulp's opening felt like a heavy statement, speaking to the judges that their album isn't just built on 'nostalgia', but a completely new, heavily detailed project. Jarvis Cocker's stage presence was as theatrical as ever, truly reminding the audience of Pulp's essence, and why they were nominated.
A performance that particularly impressed me was Pa Salieu's 'Allergy' from his album 'Afrikan Alien.' Not only was he brimming with energy, but his music unveiled a sense of identity, belonging and lack of that many listeners can relate to. It felt like the only nomination that truly embodied a sense of cultural diversity, enhanced by the albums difference in genre (UK rap and Afrobeats fusion) to the typical Mercury nomination.
However, one complaint I have from these awards so culturally significant, was that it felt too systematic. For an awards show full of albums so creative, diverse and out-the-box, the actual evening felt so over regulated. I felt it was just a chronological performance of each nomination, with a huge lack of interviews, mentions of tours and other elements that could've been engaging.
Despite this, The Mercury Prize remains an award so classified for a reason. Every artist nominated was truly inspirational to the music industry and deserved all the praise. It felt like a fitting celebration for the artists that work so hard to make a difference, not just musically, but culturally and politically.
Emma Monaghan, Music subeditor