New Order have come up with some interesting projects in recent times, but this might be one of the oddest. It seems to all be available to watch online, if you search for it, and it’s worth giving it at least a quick look. It’s a live album, performed with an array of synth players embedded in the wall behind them. Here’s a performance of Vanishing Point, as a taster:
Right from the start of La Roux‘s eponymous debut, it’s pretty clear what’s going on – it opens with the huge hit In for the Kill, with Elly Jackson singing about an octave higher than she’s really comfortable with. It’s uncomfortable to listen to – this was early in their career, but you feel as though this is someone young, who hasn’t really worked out who they are yet, or what they want to do. She’s intentionally singing with the voice of a million pop songs, because that’s what she thinks she’s meant to do. At least, that’s what it sounds like.
The thing is, La Roux is actually a pretty good song, In for the Kill is a very good, catchy pop song, but that voice… it just doesn’t sound right – and with good reason. When Jackson worked with New Order on Music Complete, she proved conclusively that she’s a good singer. There’s little sign of that here.
There are hints, though – Tigerlily is an angry, perhaps intentionally Lily Allen-like vocal delivery. It’s insubstantial, like a lot of Lily Allen‘s discography, but it’s a good pop song. It even has a tribute to Thriller in the middle, although it doesn’t honestly work particularly well here – this is a lot less atmospheric.
Quicksand is next, and we’re back to the hoarse screechy vocal delivery again. It does wear a little less as you get used to it, actually – and the synth backing, although a little cheesy at times, is punchy and fun. Then the number one hit single Bulletproof – and by this stage, you should be thoroughly used to the vocal delivery. It’s another great pop song, even though it doesn’t really flow well from the preceding track. If the production weren’t quite so naff, and the vocals were an octave or so lower, this could be a great pop-rock crossover. As it is, it’s a good song, but it does seem to be lacking something.
It’s a decade now since La Roux graced the charts, and pretty much as long since La Roux graced the charts – follow-up Trouble in Paradise, released a telling five years later, performed well but only yielded one minor hit single. So La Roux is very much a product of its time.
For the first time, Colourless Colour does something more interesting than just pop. The chorus isn’t the strongest ever, but the synth pad work in the verse is gloriously retro. It is a worthwhile reminder, though, of just how interesting pop can be when enough work has been put into the production – all the tracks up to now just seem to have fallen a little flat, in retrospect.
The kazoo-like lead on final single I’m Not Your Toy is a nice illustration of this. It would work fine on its own, but amongst its neighbours, it feels like a kind of laughing irony. The song is strong though – there’s little to fault about the song writing on most of these tracks, actually. The pitch is a little off, as is the production, but the base song is good.
We’ve also run out of singles now – Cover My Eyes is next, and is a nice, very eighties-inspired track. The longest track on the album, it does seem to owe a lot to the pop of a couple of decades earlier, and given that Jackson was only born in 1988, that’s actually quite impressive. It may not be new, but it is at least interesting.
So it continues, really – As if By Magic is both fresh and dated, and really for the first time on this album, it seems to be comfortably in Jackson’s vocal range. It even has a fade at the end, which, as we’ve discussed before, is rare on modern pop songs. Fasicnation has what is probably the oddest vocal melody on the whole album, and is consequently possibly one of the hardest tracks to enjoy here. Honestly, it’s a bit of a mess, this one.
Reflections Are Protection is better, but the album is pretty much over by this point. You can see this working well as a song for a house party, perhaps late in the night, when everyone is feeling a bit worse for wear. Actually, that’s a fair analogy for this album – it’s a house party, where you have some fun, but something doesn’t quite seem right – and you just keep bumping into that loud person with the grating voice. You can’t help that uneasy feeling that you’re going to wake up in the morning and wonder whether the hangover was really worth it.
The last track is Armour Love, which is one of the better songs on here. It’s slower, with a jauntier rhythm and a clever melody. This could have been a great single, actually, with if the marketing strategy had been a little bolder. It’s certainly fair to say that La Roux are capable of writing and recording interesting songs. In amongst everything else.
Some editions also add the bonus track Growing Pains, which is another highlight actually, but the die is cast by this stage. La Roux is a worthy debut, and an interesting album. It’s easy to fault in many ways, but it has plenty going for it, and it obviously tapped into the moment – its chart performance speaks for itself. Most people probably won’t be listening to it now, but it’s worth at least having it in your awareness. Pop, when done well, can be truly great.
You can still find La Roux by La Roux on general release.
Closing this mini-series out is a quick look at Daniel Miller‘s Mute Records, which, since its launch in 1978, has become one of the most cult, collectible labels. Initially devised as an engine to release Miller’s own electronic act The Normal, it has grown to house a huge roster of artists from a broad range of genres.
Key artists include Depeche Mode, Yazoo, Erasure, Nick Cave and the Bad Seeds, Moby, Goldfrapp, and more recently, New Order, but it has also housed some hugely influential underground artists, including Fad Gadget, Nitzer Ebb, and Laibach. The list could be endless. Many of those artists were lost when Mute was sold to EMI in 2002, and didn’t follow back when it regained its independence at the end of the decade, but the list of artists is still very strong.
Perhaps most notable in recent times is the now-legendary box set MUTE433, a compilation of different artists performing John Cage‘s 4’33”. Which is clearly brilliant, even if I don’t really want a copy (thanks all the same). By the time you read this, it might already be in the shops.
You can find out more about Mute by going to
These were the top ten albums fourteen years ago this week!
- New Order – Waiting for the Sirens’ Call
- Moby – Hotel
- Basement Jaxx – The Singles
- Mylo – Destroy Rock & Roll
- Everything But The Girl – Adapt or Die – Ten Years of Remixes
- Client – City
- Daft Punk – Human After All
- Bent – Ariels
- Depeche Mode – Remixes 81-04
- Télépopmusik – Angel Milk
Thirty years ago this week, New Order released their fifth studio album, Technique. This was the album where they famously disappeared to Ibiza to record, and, intentionally or otherwise, returned with something that wasn’t entirely complete yet.
It opens with Fine Time, full of huge late 1980s bass and snare sounds. It must have already sounded a little outdated, actually – a lot of these are the sorts of sounds that were turning up on New Order‘s own remix 12″ singles a couple of years earlier, and the times were moving fast by the late 1980s. Of course, the previous album Brotherhood (1986) predated a lot of that, so maybe what we witness here is a band who knew this had been done already, and just wanted to enjoy themselves. The goat samples are, of course, a welcome addition.
But Technique is interesting in that regard – famously none of the first four New Order albums contained any singles, and so prior to this point, there was a clear division to the New Order you find on modern compilations versus the band who could be found on LP. Fine Time was the first single from this album, actually released in late 1988, and was one of their more successful releases, peaking at number 11.
All the Way is much closer to what I would now regard as classic New Order, although offhand I’m not sure how much material like this they had actually recorded prior to 1989, It’s less electronic, and more guitar-based, and offers Peter Hook a good chance to shine with his lively bass lines. Love Less is similar, with some of Bernard Sumner‘s typically awkward lyric writing, but a catchy chorus and some gentle rhythmic elements. For the first time on this album, I think you can understand what they’re trying to do here, although for a band as adventurous as New Order, that isn’t necessarily a good thing.
Then you get the second single Round & Round, which peaked at number 21 shortly after the release of the album. If you struggle as much as I do with New Order song titles, it might help if you think of this as the one that’s built around loads of orchestral hits. The single was remixed slightly, and frames the song a little better than the album version, but it’s definitely the best song of the album so far.
Side A closes with Guilty Partner, a catchy but somewhat directionless piece with a particularly huge bass part. With New Order, it’s rarely worth thinking too hard about what they were trying to do, best instead just to enjoy their songs for what they are – that guitar solo at the halfway point is beautiful, and that’s really all that matters here.
We get the singles out of the way with the original version of Run at the start of Side B. In its single form (Run 2) it’s a great song that underperformed disappointingly on its release, crashing out from number 49 on the charts. Based on the album version, its poor performance would be a little more understandable – the catchier moments and the unusually insightful lyrics are actually there, but the production is just a little dreary and flat.
Mr. Disco is interesting – a lot of the classic New Order elements are there, and again, it’s good to hear them exploring some of the ground that had been limited to 12″ singles previously. At the same time, there are elements that are absolutely awful – mainly the lyrics and vocal delivery (such as rhyming “letter” with “met you”) – but there are other things that don’t quite seem to fit together. It’s a mess, but it’s a nice enough mess.
Vanishing Point is next, and is probably the best track on here. For the first time, we get many of the traditional New Order elements and a great song at the same time. Ninety second introductions had long been typical of the band’s singles in the 1980s, and dreary, dark, and introspective lyrics were very traditional too. Why wasn’t this one of the singles? Even the production seems to have stepped things up a level. Pure brilliance.
But it’s with Dream Attack that they really shine. They had never used honky tonk piano as a lead line before, and surprisingly it fits extremely well. Peter Hook‘s unchanging rhythmic bass is complemented by a wonderfully punchy synth bass part, and again, the lyrics actually sound sincere. This is New Order at their best, without a doubt.
For all of its patchier moments, Technique is indisputably one of New Order‘s finest albums. By the time Republic came out four years later, they had decisively moved from their elegantly dreary and experimental roots to a commercially successful indie pop-rock crossover. So Technique shows a band in transition, and demonstrates all the conflict and brilliance that you might expect from that.
The double CD special edition of Technique is still widely available, but as always, keep an eye out for the versions with dodgy sound quality.
Well, I wasn’t really expecting “Christmas New Order” to turn up any results when I searched for it – turns out there’s this – the interesting Rocking Carol:
Probably needs a bit more Peter Hook. Merry Christmas
This is the last post in this series (well, we’ll compile all the winners into one place in a week or two), and what we’ve learned is that the Ivor Novello Awards tend to be either very brave, or very, very misguided. Any year that you choose to pick, yo
Ivor Novello Awards 2000
2000 saw the 45th Ivor Novello Awards ceremony, on 25th May at Grosvenor House.
- Best Song Musically and Lyrically: Strong, written by Robbie Williams and Guy Chambers. Also nominated: You’re Still the One, written by Mutt Lange and Shania Twain; Genie in a Bottle, performed by Christina Aguilera, written by Pam Sheyne, David Frank and Steve Kipner
- Best Contemporary Song: Why Does It Always Rain On Me?, performed by Travis, written by Fran Healy. Also nominated: Rise, written by Gabrielle, Bob Dylan, Ferdy Unger-Hamilton and Ollie Dagois; Beautiful Stranger, written by William Orbit and Madonna
- PRS Most Performed Work: Beautiful Stranger. Also nominated: Strong; That Don’t Impress Me Much, written by Mutt Lange and Shania Twain
- International Hit of the Year: Genie in a Bottle. Also nominated: Ray of Light, written by Madonna, William Orbit, Christine Leach, Clive Muldoon and Dave Curtis; That Don’t Impress Me Much
- Best Selling UK Single: The Millennium Prayer, performed by Cliff Richard, written by Paul Field and Stephen Deal. Also nominated: Sweet Like Chocolate, performed by Shanks and Bigfoot, written by Stephen Meade and Daniel Langsman; That Don’t Impress Me Much
- Best Original Music for a Television / Radio Broadcast: Trial By Fire, composed by Richard G Mitchell. Also nominated: Bad Blood, composed by John Lunn; An Evil Streak, composed by Stanislav Syrewicz
- Best Original Film Score: The World Is Not Enough, composed by David Arnold. Also nominated: Anna and the King, composed by George Fenton; Shakespeare in Love, composed by Stephen Warbeck
- The Ivors Dance Award: Re-Rewind, written by Mark Hill and Craig David; Rendez-Vu, performed by Basement Jaxx, written by Felix Buxton and Simon Ratcliffe. Also nominated: Sweet Like Chocolate
- International Achievement in Musical Theatre: Robert Elhai, Elton John, Lebo M, Tsidii Le Loka, Mark Mancina, Jay Rifkin, Tim Rice, Julie Taymor and Hans Zimmer
- PRS Outstanding Contribution to British Music: Pet Shop Boys (Chris Lowe and Neil Tennant)
- The Jimmy Kennedy Award: Geoff Stephens
- Outstanding Song Collection: Madness (Mike Barson, Mark Bedford, Chris Foreman, Cathal Smyth, Suggs, Lee Thompson and Daniel Woodgate)
- Songwriter of the Year: Fran Healy
- The Special International Award: Jerry Leiber and Mike Stoller
Ivor Novello Awards 2001
The 2001 Ivor Novello Awards ceremony was on 24th May 2001 at Grosvenor House, London.
- Best Contemporary Song: Seven Days, written by Craig David, Mark Hill and Darren Hill. Also nominated: Beautiful Day, performed by U2, written by Bono, The Edge, Larry Mullen Jnr and Adam Clayton; Please Forgive Me, written by David Gray
- Best Song Musically and Lyrically: Babylon, written by David Gray. Also nominated: Trouble, performed by Coldplay, written by Guy Berryman, Jonny Buckland, Will Champion and Chris Martin; Never Had A Dream Come True, performed by S Club 7, written by Cathy Dennis and Simon Ellis
- Best Original Music for a Television / Radio Broadcast: Gormenghast, composed by Richard Rodney Bennett. Also nominated: Randall & Hopkirk (Deceased), composed by David Arnold and Tim Simenon; The Wyvern Mystery, composed by Philip Appleby
- Best Original Film Score: X-Men, composed by Michael Kamen. Also nominated: Chicken Run, composed by John Powell and Harry Gregson-Williams; Gangster No1, composed by Johnny Dankworth
- The Ivors Dance Award: Woman Trouble, written by Mark Hill, Craig David, Robbie Craig and Pete Devereux. Also nominated: Girls Like Us, performed by B-15 Project, written by Ali Campbell, Brian Travers, Dawnette Nevers, Janice Fyffe and Haldane Browne; The Time Is Now, performed by Moloko, written by Róisín Murphy and Mark Brydon
- PRS Most Performed Work: Pure Shores, performed by All Saints, written by Shaznay Lewis and William Orbit. Also nominated: Rise, written by Gabrielle, Ollie Dagois, Ferdy Unger Hamilton and Bob Dylan; Rock DJ, written by Ekundayo Paris, Nelson Pigford, Robbie Williams, Guy Chambers and Kelvin Andrews
- International Hit of the Year: It Feels So Good, written by Sonique, Linus Burdick, Simon Belofsky and Graeme Pleeth. Also nominated: I Turn To You, written by Melanie Chisholm, Rick Nowels and Billy Steinberg; Sexbomb, written by Errol Rennalls and Mousse T
- Best Selling UK Single: Can We Fix It, performed by Bob the Builder, written by Paul Joyce. Also nominated: Pure Shores; It Feels So Good
- PRS Outstanding Contribution to British Music: The Clash (Topper Headon, Mick Jones, Paul Simonon and Joe Strummer)
- Outstanding Song Collection: Roy Wood
- International Achievement: Iron Maiden (Bruce Dickinson, Janick Gers, Steve Harris, Nicko McBrain, Dave Murray and Adrian Smith)
- Lifetime Achievement: Pete Townshend
- Songwriters of the Year: Craig David and Mark Hill
- The Special International Award: Stevie Wonder
Ivor Novello Awards 2002
23rd May 2002 saw Grosvenor House in London host the Ivor Novello Awards.
- Best Contemporary Song: Shining Light, performed by Ash, written by Tim Wheeler. Also nominated: Clint Eastwood, performed by Gorillaz, written by Damon Albarn, Jamie Hewlett and Teren Delvon Jones; Thank You, written by Dido Armstrong and Paul Herman
- Best Song Musically and Lyrically: Walk On, performed by U2, written by Adam Clayton, The Edge, Bono and Larry Mullen Jnr. Also nominated: Side, performed by Travis, written by Fran Healy; Sail Away, written by David Gray
- PRS Most Performed Work: Can’t Get You Out Of My Head, performed by Kylie Minogue, written by Cathy Dennis and Rob Davis. Also nominated: Thank You; Out of Reach, written by Gabrielle and Jonathan Shorten
- Best Selling UK Single: Pure and Simple, performed by Hear’Say, written by Pete Kirtley, Tim Hawes and Alison Clarkson. Also nominated: Can’t Get You Out Of My Head; Whole Again, performed by Atomic Kitten, written by Andy McCluskey, Stuart Kershaw, Bill Padley and Jeremy Godfrey
- The Ivors Dance Award: Can’t Get You Out Of My Head. Also nominated: Do You Really Like It?, performed by DJ Pied Piper, written by Eugene Nwohia, Ronald Nwohia, Paul Newman, Ashley Livingston and Steve Wickham; Where’s Your Head At, performed by Basement Jaxx, written by Felix Buxton, Simon Ratcliffe and Gary Numan
- Best Original Music for a Television / Radio Broadcast: The Blue Planet, composed by George Fenton. Also nominated: Band of Brothers, composed by Michael Kamen; Wild Africa, composed by Christopher Gunning
- Best Original Film Score: Shrek, composed by Harry Gregson-Williams and John Powell. Also nominated: Quills, composed by Stephen Warbeck; Thirteen Days, composed by Trevor Jones
- International Hit of the Year: Can’t Get You Out Of My Head. Also nominated: Whole Again; Hero, written by Paul Barry, Enrique Iglesias and Mark Taylor
- PRS Outstanding Contribution to British Music: Kate Bush
- Outstanding Song Collection: Mick Hucknall
- International Achievement: Sting
- Songwriter of the Year: Dido Armstrong
- The Special International Award: Benny Andersson and Bjorn Ulvaeus
Ivor Novello Awards 2003
The 48th ceremony was on 22nd May 2003 at Grosvenor House, London.
- Best Song Musically and Lyrically: The Other Side, written by David Gray. Also nominated: Strange and Beautiful, performed by Aqualung, written by Matthew Hales and Kim Oliver; Stop Crying Your Heart Out, performed by Oasis, written by Noel Gallagher
- Best Contemporary Song: Weak Become Heroes, performed by The Streets, written by Mike Skinner. Also nominated: It Takes More, written by Ms Dynamite and Punch; In My Place, performed by Coldplay, written by Guy Berryman, Jonny Buckland, Will Champion, Chris Martin
- PRS Most Performed Work: Just A Little, performed by Liberty X, written by Michelle Escoffery, John Hammond Hagan, George Hammond Hagan. Also nominated: Love at First Sight, written by Kylie Minogue, Richard Stannard, Julian Gallagher, Ashley Howes and Martin Harrington; In Your Eyes, written by Kylie Minogue, Richard Stannard, Julian Gallagher and Ashley Howes
- Best Selling UK Single: Anything Is Possible, performed by Will Young, written by Cathy Dennis and Chris Braide. Also nominated: Hero, written by Paul Barry, Enrique Iglesias and Mark Taylor; Just a Little
- International Hit of the Year: Complicated, written by Lauren Christy, David Alspach, Graham Edwards and Avril Lavigne. Also nominated: Electrical Storm, performed by U2, written by Adam Clayton, The Edge, Bono and Larry Mullen Jr; Feel, written by Robbie Williams and Guy Chambers
- The Ivors Dance Award: Lazy, performed by X-Press 2, written by Ashley Beedle, Darren House, Darren Rock and David Byrne. Also nominated: Shake UR Body, performed by Shy FX & T-Power, written by Andre Williams and Dianna Joseph; It Just Won’t Do, performed by Tim Deluxe feat. Sam Obernik, written by Tim Liken and Ben Onono
- Best Original Film Score: The Quiet American, composed by Craig Armstrong. Also nominated: Die Another Day, composed by David Arnold; Rabbit Proof Fence, composed by Peter Gabriel
- Best Original Music for Television: Feltham Sings, composed by Dextrous and Simon Armitage. Also nominated: Goodbye Mr Chips, composed by Colin Towns; Danger in Tiger Paradise, composed by David Mitcham
- The Ivors Classical Music Award: Boots of Lead, composed by Simon Holt. Also nominated: Dead March, composed by Gerald Barry; Sophie’s Choice, composed by Nicholas Maw
- Songwriters of the Year: Coldplay (Guy Berryman, Jonny Buckland, Will Champion and Chris Martin)
- International Achievement: UB40 (Astro, James Brown, Ali Campbell, Robin Campbell, Earl Falconer, Norman Hassan, Brian Travers and Michael Virtue)
- PRS Outstanding Contribution to British Music: Bryan Ferry
- Outstanding Song Collection: U2 (Bono, Adam Clayton, Larry Mullen Jnr and The Edge)
- The Special International Award: Brian Wilson
Ivor Novello Awards 2004
The 2004 Ivor Novello Awards were hosted at Grosvenor House on 27th May.
- Best Song Musically and Lyrically: Leave Right Now, performed by Will Young, written by Francis Eg White. Also nominated: White Flag, written by Dido Armstrong, Rollo Armstrong and Richard Nowels; Step Into My Office Baby, performed by Belle and Sebastian, written by Stuart Murdoch, Stephen Jackson, Christopher Geddes, Richard Colburn, Michael Cooke, Sarah Martin and Robert Kildea
- Best Contemporary Song: Stronger Than Me, written by Amy Winehouse and Salaam Remi. Also nominated: Jus’ a Rascal, performed by Dizzee Rascal, written by Dylan Mills, Tesmond Rowe and Vegard Vardoen; Slow, written by Dan Carey, Emiliana Torrini and Kylie Minogue
- Best Original Music for Television: The Young Visitors, composed by Nicholas Hooper. Also nominated: Second Generation, composed by Nitin Sawhney; The Key, composed by Anne Dudley
- Best Original Film Score: Max, composed by Dan Jones. Also nominated: In America, composed by Gavin Friday and Maurice Seezer; BodySong, composed by Jonny Greenwood
- The Ivors Dance Award: Strict Machine, performed by Goldfrapp, written by Alison Goldfrapp, Will Gregory and Nick Batt. Also nominated: Shining Through, performed by Layo & Bushwacka, written by Layo Paskin and Matthew Benjamin; Familiar Feeling, performed by Moloko, written by Róisín Murphy, Mark Brydon and Edmond Stevens
- PRS Most Performed Work: Superstar, performed by Jamelia, written by Mich Hansen, Joseph Belmaati and Mikkel Sigvardt. Also nominated: Clocks, performed by Coldplay, written by Guy Berryman, Jonny Buckland, Will Champion and Chris Martin; Hole in the Head, performed by Sugababes, written by Miranda Cooper, Brian Higgins, Timothy Powell, Nicholas Coler, Niara Scarlett, Keisha Buchanan, Mutya Buena and Heidi Range
- International Hit of the Year: White Flag, written by Dido Armstrong, Rollo Armstrong and Richard Nowels. Also nominated: Feel, written by Robbie Williams and Guy Chambers; Slow, written by Dan Carey, Emiliana Torrini and Kylie Minogue
- Best Selling UK Single: Mad World, performed by Michael Andrews and Gary Jules, written by: Roland Orzabal
- The Ivors Classical Music Award: Richard Rodney Bennett
- Outstanding Song Collection: 10cc (Lol Crème, Kevin Godley, Graham Gouldman and Eric Stewart)
- International Achievement: Radiohead (Colin Greenwood, Jonny Greenwood, Ed O’Brien, Phil Selway and Thom Yorke)
- PRS Outstanding Contribution to British Music: Errol Brown
- Songwriters of the Year: The Darkness (Ed Graham, Dan Hawkins, Justin Hawkins and Frankie Poullain)
- The Special International Award: Lamont Dozier, Brian Holland and Eddie Holland
Ivor Novello Awards 2005
Reaching its fiftieth anniversary, the Ivor Novello Awards were held on 26th May 2005 at Grosvenor House, London.
- PRS Most Performed Work: Toxic, performed by Britney Spears, written by Cathy Dennis, Bloodshy, Henrik Jonback and Avant. Also nominated: Amazing, written by George Michael and Jonathan Douglas; Thank You, written by Jamelia Davies, Carsten Schack and Peter Biker
- Best Contemporary Song: Take Me Out, performed by Franz Ferdinand, written by Robert Hardy, Alex Kapranos, Nick McCarthy and Paul Thomson. Also nominated: For Lovers, performed by Wolfman, written by Peter Wolfe, Pete Doherty, Julian Taylor, Edmund Scott, Matt White, David Banks and Matt Scott; Blinded by the Lights, performed by The Streets, written by Mike Skinner
- Best Original Film Score: Enduring Love, composed by Jeremy Sams. Also nominated: Deep Blue, composed by George Fenton; Man on Fire, composed by Harry Gregson-Williams
- The Ivors Classical Music Award: John Tavener
- Best Selling UK Single: Do They Know It’s Christmas?, performed by Band Aid 2000, written by Bob Geldof and Midge Ure. Also nominated: All This Time, performed by Michelle McManus, written by Wayne Hector, Steve Mac and Ali Tennant; Call On Me, written by Steve Winwood, Eric Prydz and Will Jennings
- Best Song Musically and Lyrically: Dry Your Eyes, performed by The Streets, written by Mike Skinner. Also nominated: These Words, written by Stephen Kipner, Andrew Frampton, Natasha Bedingfield and Wayne Wilkins; Everybody’s Changing, performed by Keane, written by Tim Rice-Oxley, Tom Chaplin and Richard Hughes
- Best Original Music for Television: Blackpool, composed by Rob Lane. Also nominated: Fallen, composed by Paul Leonard-Morgan; North and South, composed by Martin Phipps
- International Hit of the Year: Vertigo, performed by U2, written by Bono, The Edge, Adam Clayton and Larry Mullen Jr. Also nominated: Behind Blue Eyes, performed by Limp Bizkit, written by Pete Townshend; Do They Know It’s Christmas?
- International Achievement: Robert Smith
- Songwriters of the Year: Keane (Tom Chaplin, Richard Hughes and Tim Rice-Oxley)
- Album Award: Final Straw, performed by Snow Patrol, written by: Iain Archer, Nathan Connolly, Gary Lightbody, Mark McClelland and Jonny Quinn
- PRS Outstanding Contribution to British Music: Duran Duran (Simon Le Bon, Nick Rhodes, Andy Taylor, John Taylor and Roger Taylor)
- Outstanding Song Collection: Queen (John Deacon, Brian May, Freddie Mercury and Roger Taylor)
- The Special International Award: Lou Reed
- The Ivors Special Award for Songwriting: Mick Jagger and Keith Richards
Ivor Novello Awards 2006
25th May 2006 saw the hosting of the 51st Ivor Novello Awards ceremony at Grosvenor House, London.
- Best Song Musically & Lyrically: Suddenly I See, written by KT Tunstall. Also nominated: Fix You, performed by Coldplay, written by Guy Berryman, Jonathan Buckland, William Champion and Chris Martin; I Bet You Look Good On The Dancefloor, performed by Arctic Monkeys, written by Alex Turner
- PRS Most Performed Work: You’re Beautiful, written by James Blunt, Amanda Ghost and Sacha Skarbek. Also nominated: Shiver, written by Natalie Imbruglia, Sheppard Solomon and Francis Eg White; Speed of Sound, performed by Coldplay, written by Guy Berryman, Jonathan Buckland, William Champion and Chris Martin
- Best Television Soundtrack: Elizabeth I, composed by Rob Lane. Also nominated: A Waste Of Shame: The Mystery of Shakespeare and His Sonnets, composed by Kevin Sargent; Colditz, composed by Richard Harvey
- Outstanding Song Collection: New Order (Philip Cunningham, Gillian Gilbert, Peter Hook, Stephen Morris and Bernard Sumner)
- Best Selling UK Single: That’s My Goal, performed by Shayne Ward, written by: Jorgan Elofsson, Jeremy Godfrey and Bill Padley
- Album Award: Employment, performed by Kaiser Chiefs, written by: Nick Baines, Nick Hodgson, Simon Rix, Andrew White and Ricky Wilson
- The Ivors Classical Music Award: Harrison Birtwistle
- International Hit of the Year: You’re Beautiful, written by James Blunt, Amanda Ghost and Sacha Skarbek. Also nominated: Speed of Sound; Tripping, written by Stephen Duffy and Robbie Williams
- Best Original Film Score: Evil, composed by Francis Shaw. Also nominated: Chronicles of Narnia: The Lion, The Witch & the Wardrobe, composed by Harry Gregson–Williams; Pride and Prejudice, composed by Dario Marianelli
- Best Contemporary Song: Wires, written by Joel Pott, Steven Roberts, Timothy Wanstall and Carey Willetts. Also nominated: DARE, written by Damon Albarn, Brian Burton and Jamie Hewlett; I Predict a Riot, written by Nick Baines, Nick Hodgson, Simon Rix, Andrew White and Ricky Wilson
- International Achievement: Ian Anderson
- Songwriters of the Year: Damon Albarn and Jamie Hewlett
- PRS Outstanding Contribution to British Music: Ray Davies
- The Special International Award: Kenny Gamble and Leon Huff
- BASCA Fellowship: Bee Gees (Barry Gibb, Maurice Gibb and Robin Gibb)
Ivor Novello Awards 2007
2007’s Ivor Novello ceremony took place on 24th May at Grosvenor House, London.
- International Hit of the Year: Sorry, written by Madonna and Stuart Price. Also nominated: I Don’t Feel Like Dancin’, performed by Scissor Sisters, written by Elton John, Scott Hoffman and Jason Sellards; Rudebox, written by Robbie Williams, Danny Spencer, Kelvin Andrews, Sly Dunbar, Robbie Shakespeare, William “Earl” Collins, Bill Laswell and Edmund “Carl Jr” Aiken
- Album Award: Whatever People Say I Am That’s What I’m Not, performed by Arctic Monkeys, written by: Alex Turner
- Best Contemporary Song: Rehab, written by Amy Winehouse. Also nominated: Over and Over, performed by Hot Chip, written by Joseph Goddard, Alexis Taylor and Felix Martin; Yeah Yeah, performed by Bodyrox feat. Luciana, written by Nick Bridges, Jon Pearn, Nathan Thomas, Luciana Caporaso and Nick Clow
- Best Television Soundtrack: The Virgin Queen, composed by Martin Phipps. Also nominated: Hotel Babylon, composed by John Lunn and Jim Williams; Shiny Shiny Bright New Hole In My Heart, composed by Alex Heffes
- Best Selling UK Single: A Moment Like This, performed by Kelly Clarkson, written by Jorgen Elofsson and John Reid
- Outstanding Song Collection: Yusuf Islam
- The Ivors Classical Music Award: John Rutter
- PRS Most Performed Work: I Don’t Feel Like Dancin’. Also nominated: Put Your Records On, written by Corinne Bailey Rae, John Beck and Steve Chrisanthou; Sorry, written by Madonna and Stuart Price
- Best Original Film Score: Ice Age: The Meltdown, composed by John Powell. Also nominated: Casino Royale, composed by David Arnold; Severance, composed by Christian Henson
- PRS Outstanding Contribution to British Music: Norman Cook
- Best Song Musically and Lyrically: Elusive, written by Scott Matthews. Also nominated: Sophia, written by Nerina Pallot; When the Sun Goes Down, written by Alex Turner
- Songwriters of the Year: The Feeling (Dan Gillespie Sells, Ciaran Jeremiah, Kevin Jeremiah, Richard Jones and Paul Stewart)
- Lifetime Achievement: Peter Gabriel
- The Special International Award: Quincy Jones
Ivor Novello Awards 2008
The 2008 Ivor Novello Awards were on 22nd May at Grosvenor House.
- Best Selling British Song: Beautiful Liar, performed by Beyoncé and Shakira, written by Ian Dench, Mikkel Eriksen, Amanda Ghost, Tor Erik Hermansen and Beyoncé Knowles. Also nominated: Grace Kelly, written by Jodi Marr, John Merchant, Mika and Dan Warner; Rehab, written by Amy Winehouse
- International Achievement: Phil Collins
- Best Contemporary Song: People Help the People, performed by Cherry Ghost, written by Simon Aldred. Also nominated: Foundations, written by Paul Epworth and Kate Nash; Golden Skans, performed by Klaxons, written by Jamie Reynolds, James Righton and Simon Taylor-Davies
- Best Television Soundtrack: Oliver Twist, composed by Martin Phipps. Also nominated: Primo, composed by Jonathan Goldstein; Who Killed Mrs de Ropp?, composed by Paul Moessl
- Album Award: In Rainbows, performed by Radiohead, written by Colin Greenwood, Jonny Greenwood, Edward O’Brien, Philip Selway and Thom Yorke. Also nominated: Man on the Roof, written by Stephen Fretwell; Thirst for Romance, performed by Cherry Ghost, written by Simon Aldred
- The Ivors Inspiration Award: Jazzie B
- PRS Most Performed Work: Shine, performed by Take That, written by Gary Barlow, Howard Donald, Jason Orange, Mark Owen and Stephen Robson. Also nominated: Ruby, performed by Kaiser Chiefs, written by Nicholas Baines, Nick Hodgson, James Rix, Andrew White and Ricky Wilson; Starz in Their Eyes, performed by Just Jack, written by Jack Allsopp
- The Ivors Classical Music Award: Jonathan Dove
- Best Song Musically & Lyrically: Love is a Losing Game, written by Amy Winehouse. Also nominated: Let Me Out, written by Rosi Golan and Jamie Hartman; You Know I’m No Good, written by Amy Winehouse
- Outstanding Song Collection: Gabrielle
- Best Original Film Score: Atonement, composed by Dario Marianelli. Also nominated: Becoming Jane, composed by Adrian Johnston; La Vie en Rose, composed by Christopher Gunning
- PRS Outstanding Contribution to British Music: Chris Difford and Glenn Tilbrook
- Songwriter of the Year: Mika
- The Special International Award: Diane Warren
- Lifetime Achievement: David Gilmour
Ivor Novello Awards 2009
Closing the decade, the 2009 Ivor Novello ceremony was on 21st May at Grosvenor House, London.
- BASCA Fellowship: David Ferguson
- Best Contemporary Song: Grounds for Divorce, performed by Elbow, written by Guy Garvey, Richard Jupp, Craig Potter, Mark Potter and Peter Turner. Also nominated: Dance Wiv Me, performed by Dizzee Rascal, written by Nicholas Detnon, Calvin Harris, Dylan Mills and Tyrone; That’s Not My Name, performed by The Ting Tings, written by Julian De Martino and Katie White
- Album Award: We Started Nothing, performed by The Ting Tings, written by Julian De Martino and Katie White. Also nominated: Rockferry, written by Bernard Butler and Duffy; Viva La Vida or Death And All His Friends, performed by Coldplay, written by Guy Berryman, Jonny Buckland, Will Champion and Chris Martin
- Best Television Soundtrack: Wallace and Gromit (A Matter of Loaf and Death), composed by Julian Nott. Also nominated: Fiona’s Story, composed by Ben Bartlett; Trial and Retribution 2008, composed by Anne Dudley
- Outstanding Song Collection: Vince Clarke
- The Ivors Classical Music Award: James MacMillan
- Best Selling British Song: Viva La Vida, performed by Coldplay, written by Guy Berryman, Jonny Buckland, Will Champion and Chris Martin. Also nominated: Mercy, written by; Steve Booker and Duffy; Paper Planes, performed by M.I.A., written by Maya Arulpragasam, Topper Headon, Mick Jones, Thomas Wesley Pentz, Paul Simonon and Joe Strummer
- PRS for Music Outstanding Contribution to British Music: Massive Attack (Robert Del Naja, Grant Marshall and Andrew Vowles)
- Best Song Musically and Lyrically: One Day Like This, performed by Elbow, written by Guy Garvey, Richard Jupp, Craig Potter, Mark Potter and Peter Turner. Also nominated: My Mistakes Were Made For You, performed by Last Shadow Puppets, written by Miles Kane and Alex Turner; The Last of the Melting Snow, performed by The Leisure Society, written by Nicholas Hemming
- Best Original Film Score: There Will Be Blood, composed by Jonny Greenwood. Also nominated: Quantum of Solace, composed by David Arnold; The Escapist, composed by Benjamin Wallfisch
- The Ivors Inspiration Award: Edwyn Collins
- PRS for Music Most Performed Work: Mercy, written by Steve Booker and Duffy. Also nominated: Sweet About Me, written by Gabriella Cilmi, Nicholas Coler, Miranda Cooper, Brian Higgins, Timothy Larcombe and Tim Powell; Viva La Vida, performed by Coldplay, written by Guy Berryman, Jonny Buckland, Will Champion and Chris Martin
- Songwriter of the Year: Eg White
- The Special International Award: Smokey Robinson
- BASCA Fellowship: Don Black