This award is for...?

By Paul Flower on Sep 9, 11 03:51 PM

I have regularly commented upon the Mercury Music Prize, usually at some point around the nominations or event and if I wasn't suffering from post-holiday-lethargy I'd probably link to those pieces here. To summarise them all though, I've generally been fairly dismissive about the random nature of it all and the dubious prospect of comparing different genres within one award.

Some of that critique possibly still holds water and you wouldn't compare carpet with chocolate, but since they would obviously argue that all music is an audio art form perhaps you can make a judgement on which is the best, or most artistic.

In retrospect it was a bit like shooting fish in a barrel or punching Piers Morgan in the face, too easy and too obvious. Indeed with the 2011 award going to PJ Harvey you might think that a pattern is starting to emerge where I'd initially claimed there was none. If the 'MMP' has a function it may be in recognising music that challenges, that has an artistic purpose beyond sell-out-commerciality.

I used to like PJ but she's ventured out of my comfort zone. When she was post-rock and edgy I liked it a lot and her first MMP album may have been her outstanding work as far as I'm concerned and worthy of the award as it represented her development into a confident artist with mainstream appeal. I've always been a supporter of acts who venture into new territories, who evolve, and as a result she'll continually have my love and respect (whether she wants it or not), the last two albums don't get played much in my house though.

In consideration of the above then perhaps we have to assume that the MMP is not as arbitrary and wilfully obscure as I'd initially suggested. If it is a prize for an album which remains close to the mainstream but has a core of artistic integrity and purpose then it is a valid ceremony and award. Looking back at the 20 winners there may have been three or so that (in my opinion) wouldn't fit into that description and if the pattern fits then they're due (next year) to give it to something unashamedly populist if you fancy that wager.

All awards ceremonies go through difficult periods where they struggle to define their purpose. The Brits certainly has emerged from that and the Grammys have always escaped such criticism (or hedged their bets) by invoking as many categories as possible: 'Best RnB female vocal performance featuring a child playing the spoons' is one that features next year I believe.

Obviously this brings me onto the MOBOs who have really slipped into treacherous territories, possibly as a result of their own success or - at the very least - the success of the music they aimed to promote. Those with long memories (or a good search engine) may recall that the MOBOs were set up in reaction to the BRITS because of the perceived lack of representation for black artists.

Obviously the charts are now awash with black acts and the tightrope that the MOBOs chose to walk seems perilously slack. Over the years, by invoking the acronym 'music of black origin', they sought to incorporate non-black acts into the fold but have now reached that catch 22 position where they're damned if they do, and fucked commercially if they don't.

You could argue that all (non-classical) music is of black origin and that the music industry has always sought to 'whiten it up' in order to gain access to bigger commercial markets. Even ignoring rock 'n' roll you'd find the Rolling Stones 'importing' blues music to American audiences wilfully ignorant of the original material. So if the MOBOs don't recognise non-black acts they'd be racist but when they do they face headlines in The Times calling it a 'whitewash'. That probably wasn't what they had in mind.

If the MOBOs is just another commercial awards event then fine, it shouldn't claim to have a higher purpose or a pioneering rationale. No-one minds a night out and awards events seem to find a TV audience despite being the blandest form of entertainment possible. The other knock-on effect that I've oft-applauded is that anyone winning an award sees their public consciousness and album sales rising exponentially - PJ Harvey has seen a sixfold increase already.

The MOBOs needs to expand its awards categories and realign with its original purpose. Maybe then - with appropriate consistency - it can revive its credibility, just like the Mercurys appear to have done.......for now at least.