VOCAL GIRLS’ MERCURY PRIZE ROUNDUP

Whilst we’re still fangirling over last year’s Mercury Prize winner, Arlo Parks for Collapsed in Sunbeams, it’s about time we embrace this year’s newly announced shortlist. Following the announcement, VOCAL GIRLS explores 2022’s Mercury Prize nominations and the reaction to this year’s potential albums of the year.

Following its fruition in 1992, the Mercury Prize has  awarded an album released by a British or Irish act every year. Chosen by a collection of music industry professionals, the prize is non-prejudicial of music genres, and is widely associated with highlighting lesser-known albums, or those less associated with pop culture. It is important to note that the prize states it is purely based on musical merit, in the aim of celebrating artistic achievement, summarising the previous year in music and introducing new albums to a wider audience.

With this in mind, this year’s shortlist has, for the most part,  returned in the Mercury’s signature appreciative style of unique musical works. From Fergus McCreadie’s Forest Floor - an album laced in Scottish folklore combined with sounds reminiscent of New York’s Birdland Jazz Bar - all the way to the Nova Twins’ bewitchingly attudious Supernova, the prize is, as exploratory as always, and uproots some of the UK’s best hidden musical gems. 

That said, this year does arguably include more pop culture than previous years (with particular mention of Harry Styles’ Harry’s House). Despite being one of the biggest albums of the year, it does raise the question of what should be excluded from the Mercury's shortlist, with many regarding the prize as a showcase of unknown masterpieces. That combined with the £25,000 prize for the winner and it's understandable why some are questioning why such a globally-acclaimed album is featuring on the list. Styles’ nomination is thanks to the undeniably burstful energy of his album, pointing to the vitality of the vibrant youth and fangirl culture intertwined with the British music scene. However, this exposure and financial reward would surely be more greatly beneficial to those of a lesser-known profile. 

These artists are thankfully on the list too; a notably exciting nomination comes from Cornwall’s Gwenno. Almost entirely sung in Cornish, the album is an enticing invitation to the artist’s synth and electro-driven disco, which we are attracted to predominantly by the efforts of only the album’s chic instrumentals. The general lack of understanding of the record’s words feels primal, with its reminder to listeners that all we need is a unifying beat and tune to get us moving.

The shortlist also introduces us to the golden collaboration of actor/singer-songwriter, Jessie Buckley and Suede’s former guitarist, turned solo artist and record producer, Bernard Butler. Buckley’s vocals are rich with yearning, yet compellingly assured. The pair have achieved a sound so intimate, it submerges us into the mind and action of them both, feeling as if we are not only listening to the stories of each song, but also experiencing them. The nomination also nods to the ever-growing blurred boundaries of creatives’ talents in the contemporary industry; Buckley recently made an appearance in A24’s dystopian thriller film, ‘Men’. 

Sometimes I Might Be Introvert, Little Simz’ fourth glorious studio album, rightfully holds its place amongst the other eleven nominations. Limitlessly diving into immersive production and composition, the album not only expresses Simz’ great credibility as a rapper, it reinforces her spot as one of the UK’s  most exciting composers, especially when teamed up with loyal producer and collaborator, Inflo. The record delves into the conflict between Simz’ extroverted self-recognition of her personal achievements and talent, and her introverted internal persona. It attacks the challenge that many musicians in the mainstream often face: initially using their craft for therapy and catharsis , but as a result eventually finding themselves in a vulnerable and open position. Whilst the album conceptually explores this internal battle, it also confidently introduces us to an addictive soundscape that can only be described as a soundtrack to Simz’ wonderfully boundless mind. 

Others on the shortlist include the instantly-adored debut of Wet Leg, alongside Sam Fender’s combined analysis of his internal and external realities, Seventeen Going Under, and Yard Act’s punchy social commentary, The Overload. Kojey Radical also marks his first Mercury shortlisting with his long-awaited debut album, Reasons to Smile. A luxurious portrait of the Black British experience, the record is self-assured, lavish, and a celebration by rights. 

This year arguably acknowledges pop culture more than previous years (with particular mention of Harry Styles’ Harry’s House). Styles’ nomination is thanks to the undeniably burstful energy of his album, pointing to the vitality of the vibrant youth and fangirl culture intertwined with the British music scene. Despite being one of the biggest albums of the year, it does raise the question of what should be choosingly excluded from the Mercury’s shortlist, with many regarding the prize as a showcase of wrongfully secret masterpieces. That combined with the £25,000 prize for the winner, it's understandable why some are questioning why such a globally-acclaimed album featuring on the list. The exposure and financial reward would surely be more beneficial to those of a lesser-known profile. 

Despite some more popular names on the shortlist, this year’s nominations observe British culture more wholely than before. With the increase in intersectional diversity amongst nominees, it salutes the true variety that forms, inspires and drives Britain and Ireland’s music industry. Whilst it is vital to notice there is still a wider lack of recognition of marginalised-identifying producers and songwriters behind the albums, this familiarity with performers is a step forward, providing necessary understanding of the UK’s contemporary music scene.