The Northern Ireland Music Awards

Posted on 11th Nov 11 by Drop-d Collective | 0

It’s without question the most fiercely disputed local music event in memory. Tonight the Ulster Hall opens its doors for the inaugural Northern Ireland Music Awards.

Since its announcement much has been made of the event’s necessity. Some have called its financial priority into question, especially in light of BBC Introducing in Northern Ireland‘s imminent budget-cut closure as well as contesting whether the anonymity of the judging panel warrants it a definitive representation of Northern Irish music (as its title might suggest) and not just it’s most familiar exports.

Others though have longed for such an occasion, never believing a spectacle as global as the MTV EMAs would have to come to town before we could reward and celebrate what’s already here.

What’s more, as a reason to gather a handful of the country’s biggest contemporary bands under one roof to perform along with a national treasure like Stiff Little Fingers amidst the most culturally significant week in Belfast’s recent history, the guise of an awards show is merely a formality for Northern Ireland to recognise its own musical zenith.

The Ulster Hall is impressively spruced with screens, banners and giant NIMA initials on-stage while co-hosts David ‘Rigsy’ O’Reilly of Radio Ulster and Citybeat’s Emma Fitzpatrick present from a NIMA-branded podium. It mightn’t be MTV but it certainly gives it an added sense of authenticity.

General Fiasco‘s three-song opener isn’t remarkable, but the entirely new material we hear is tellingly infectious as they’re later awarded Best Song for recent effort ‘The Age You Start Losing Friends‘, proving their prowess with track-by-track pop-smithery.

On occasions such as these you’d almost expect passive performances since the real dynamite is usually reserved for a band’s own shows. To turn up and phone in a short shift before taking residence at the free bar is fairly customary.

Not tonight. Though the abrupt changeovers seem to deprive Cashier No. 9 and The Japanese Popstars of their full set-ups, with Cashier lacking the scope of their usual labyrinth of sound (and technical issues forcing an early finish) and JPs visually more minimal, each play as if to their own crowd.

Cashier, who pick up the Best Video and Best Album awards to somewhat mixed reactions, are most effective in an unhurried stride with room to develop a cool tranquillity. But despite going for the jugular with glimmering singles ‘Goldstar‘ and ‘Oh Pity‘ they aren’t afforded time to settle into their trademark gradual groove.

‘Japstars’ though are the real surprise package. Out of their element the Derry dance-fiends create a tremendous noise, bashing and interweaving cuts from their recent club masterstroke ‘Controlling Your Allegiance‘. And that the Best Electronic Artist nominees win over a room of suits, indie kids and old punkers is plenty to be commended for even if an Ulster Hall rave-up doesn’t quite ignite.

For sub-headliners And So I Watch You From Afar it’s a date that’ll stick with them. Not because they’re recognised as the country’s Best Live Act but because it’s the last time as ASIWYFA they’ll share a stage with guitarist Tony Wright.

Fans were shocked to learn of the founding member’s decision to part ways in September. Having been substituted for since, tonight is as good an occasion as any to say farewell before fully concentrating on his solo venture VerseChorusVerse.

All it takes is four songs from the instrumentalists to create history. It could have easily only taken the one. Bowing out with signature hymn ‘The Voiceless’, Wright makes it count and is an extraordinary sight, with the very essence of ASIWYFA pouring from his every move.

Paddling into the crowd, he rings out the song’s mid-section held aloft by adoring fans. It’s an image that screams a thousand words without uttering a thing, one that’s already engraved into the Ulster Hall’s existence. A total eclipse of a performance.

A final statement, tossing his guitar aside like a used rag, serves to close this chapter for Wright conclusively, before a deserved chant leads both him and the band off to find whatever’s next.

For us it’s punk icons Stiff Little Fingers, without whom none of this would be possible. A stirring welcome from long time broadcaster Mike Edgar leads the band on to accept their Oh Yeah Legend accolade, received in previous years by Terri Hooley and The Undertones.

After the brief wrap-up the Belfast veterans cap off the event with class and in style. ‘Please stand for the national anthem’ says Jake Burns before ‘Alternative Ulster‘, the very seed which has birthed such an evening, evokes absolute bedlam.

Despite all the bickering they’ve caused, the awards themselves play an inconsequential role. The victory drivel and adulation for the most part isn’t indulged in and while the changeovers are visibly hectic the hosts maintain a smooth show throughout.

It’s important that its horizons be broadened further in years to come though to make it a more inclusive event all round, but if nothing else, in a week culminating with the worldwide media circus casting an eye over Northern Ireland as the biggest stars on the planet arrive, the NIMAs have ensured our own aren’t overlooked.

This moment, for one, hasn’t slipped through our fingers.

Tags: 2DCC, AU, Cashier #9, general fiasco, JapStars, Mike Edgar, NIMAs, stiff little fingers