Elton John stars at UK’s Artist & Manager Awards
Elton John and David Furnish were honoured at the 2021 Artist & Manager Awards (AMAs), which attracted more than 700 artists, managers and music industry professionals to Bloomsbury Big Top in London.
The duo made a final-hour appearance to collect the Artist & Manager Partnership Award at last night’s ceremony, which was organised by the Featured Artists Coalition (FAC) and the Music Managers Forum (MMF).
Rina Sawayama, who was also named 2021’s Breakthrough Artist, presented Elton and David with the accolade at the first in-person AMAs since 2019. Other artists recognised on the night included Little Simz (Artist of the Year), Mogwai (Pioneer) and Bicep, who shared their award for Innovation with their management team at This Is Music.
Coming together again with friends and colleagues feels like such a hugely positive and symbolic step forward
“Coming together again with friends and colleagues feels such a hugely positive and symbolic step forward,” said MMF CEO Annabella Coldrick and Featured Artists Coalition CEO David Martin. “Tonight’s Awards was about celebrating music, talent, innovation and camaraderie across the artist and management community – whether that’s individuals at the start of their careers, survivors and legends, or those still standing after decades.”
September Management’s Amy Morgan was crowned Manager of the Year for her work with Glass Animals and Metallic Inc’s Grace Ladoja MBE received the Entrepreneur Award in recognition of her bridge-building between music scenes in the UK and Nigeria. In addition, Kayleigh Thorpe of Little Runaway Management was revealed as the 2021 Breakthrough Manager for her work with Gerry Cinnamon.
The Black Music Coalition were named Industry Champions, while Karma Artists picked up the award for Writer/Producer Manager, and YMU Music Group were presented with the Team Achievement Award in recognition of their groundbreaking inclusion initiatives, including a Mental Health and Well-Being programme for clients and staff.
Presented by Capital FM’s Roman Kemp, the event featured live performances from Wes Nelson & Hardy Caprio, The Anchoress and Lucy McWilliams.
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UK orgs react to new PRS tariff for small live streams
Key organisations from the UK’s music industry have criticised PRS for Music for its new “ill-conceived” licence for small-scale livestreamed gigs, following last year’s backlash about the proposed tariff for larger livestreamed events.
The UK performance rights organisation has today launched a new licensing portal for music creators, venues and promoters wanting to stage livestream small-scale events, which will impose a flat fee equating to a minimum 9% tariff on events generating less than £500.
The blanket rate for a show that generates less than £250 is £22.50, and £45 for an event that generates between £250 and £500.
The move follows the last year’s proposal that larger livestream events should be subject to a tariff of between 8% and 17% of gross revenues, compared to 4.2% charged at normal in-person live shows.
This prompted Music Managers Forum (MMF) and Featured Artists Coalition (FAC) to send a joint letter – countersigned by more than 50 artist managers – to PRS for Music CEO Andrea Martin last month urging her to reconsider the move.
“[PRS] need to commit to a full and transparent industry-wide consultation before issuing invoices to cash-strapped artists”
PRS says it will not be actively pursuing licences for livestreamed events that took place prior to the launch of the new portal, which would have qualified for the fixed fee licence.
Commenting on the new licence for small-scale livestreamed concerts, David Martin, CEO at FAC, and Annabella Coldrick, chief executive at MMF, say: “All of us want songwriters and composers to be paid fairly and efficiently for the use of their work, but this is not the way to go about it. Once again, we would urge PRS for Music to stop acting unilaterally.
“They need to urgently listen to the growing concerns of artists and their representatives during the pandemic, implement a waiver for performer-writers to opt-out of such fees, and commit to a full and transparent industry-wide consultation before issuing invoices to cash-strapped artists.”
“Unilaterally announcing ill-conceived new tariffs in a crisis is not such a discussion”
Mark Davyd, CEO at Music Venue Trust, added: “The live music industry, including grassroots music venues, artists and promoters, is in crisis mode and pulling together. The team at MVT have been in regular correspondence with PRS for Music throughout this crisis on how we can work together to ensure everyone emerges from this crisis and we can get back to work. At no time during those conversations has anybody suggested that a new tariff for streaming would be created. We have not been consulted on this, advised of it, or even notified of it prior to a press release being issued.
“The principal beneficiaries of paid streaming during this crisis have been artists. The beneficiaries of charitable streaming, online broadcasts by artists to raise money for causes, have included venues, crew, artists, and the wider community, including healthcare workers, food banks and homeless charities.
“It is unclear from this press statement whether PRS for Music wishes to clampdown on artists paying themselves or on artists supporting charities, but we would strongly suggest that neither should have been advanced to the stage of an announcement of a Tariff without understanding the most basic economics of what streaming is actually doing during this crisis.
“We remain available to discuss the realities of streaming during this crisis with PRS for Music if they wish to have an informed discussion on it. Unilaterally announcing ill-conceived new tariffs in a crisis is not such a discussion.”
“[PRS] is continuing to work to agree a range of licensing options for larger events, including a proposed discount”
Andrea Martin, CEO, PRS for Music, says: “We recognise the importance of providing simple licensing solutions wherever possible and the licensing portal for small-scale online events is an example of this. We are continuing to work hard to agree a range of licensing options for providers of larger events, including a proposed discounted rate during the pandemic.
“This is a part of the market which has seen exponential growth and is itself constantly evolving, meeting the expectations for worldwide blanket licences is alone no small feat, but we are committed to finding solutions which ensure members can be paid fairly when their works are performed.”
John Truelove, writer director, PRS Members’ Council, says: “Composers and songwriters have faced monumental challenges this past year. So, the huge surge in the online live concert market beyond anyone’s expectations, is positive news all round. It is great that so many artists are performing online concerts to stay connected with fans, to earn a living, and to promote new releases.
“Anyone wanting to hold small online ticketed gigs can now get a PRS licence in a simple and straightforward way. This will create even more opportunities for artists, musicians and writers to thrive together while ensuring that songwriters and composers are being properly paid when their music is performed.”
PRS is proposing to apply temporary discounted rates on livestream licensing for bigger events until the live sector can reopen – though these are yet to be determined.
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Managers, artists slam proposed UK livestream tariff
The Music Managers Forum (MMF) and Featured Artists Coalition (FAC) have written to PRS for Music, the UK performance rights organisation, to protest a proposed new tariff for livestreamed concerts, which the associations criticise as “unworkable” and punitive to artists.
The MMF/FAC letter, which can be read in full here, is countersigned by more than 50 artist managers, including representatives for Dua Lipa, Biffy Clyro, Liam Gallagher, Bicep, Fontaines DC, Gorillaz and Yungblud, as well as a group of FAC member artists and songwriters.
The proposed tariff for live streams, described by PRS as a “temporary experimental and non-precedential rate structure”, has been devised without any consultation with industry. It would see a fee of up to 17% of gross ticket sales levied on livestreamed events, and would apply retrospectively to events which have already happened.
Even for the smallest events (those grossing under £50,000), the tariff would be 8% – double the 4% generally charged on a physical concert under the existing tariff ‘LP’.
The proposed tariff, particularly at the top royalty rate, compares unfavourably to the rates charged in several other European countries: The Netherlands’ Buma, for example, has a 7% tariff for live streams, while Germany’s Gema licenses live streams under its existing VR-OD 10 tariff, which is charged at a flat rate up to a maximum of €1,200. (By contrast, 17% of £450,000 is £76,500.)
“A starting rate 8%, rising to 17%, will make livestreaming unviable, for [all] artists”
The letter, addressed to PRS for Music chief executive Andrea Martin, says that while the associations accept that songwriters must be compensated fairly for use of their work in live streams, the 8–17% rate will make livestreaming – a format which has “presented artists with one of their few opportunities to perform and connect with their fans” this year – financially “unviable, for both the smallest emerging artists and the biggest superstar acts”.
“The larger, most-successful events involve significant production costs, and have provided a lifeline to crew and other industry workers,” write MMF’s Annabella Coldrick and FAC’s David Martin. “At the other end of the scale, livestreaming has been increasingly important for emerging artists and those operating in niche genres. For the sake of all artists, songwriters and the wider industry, it is crucial that this new format is allowed to grow and thrive.
“Charging artists up to four times the live [LP] rate strangles, rather than nurtures, this innovation. For some of the smaller artists who have just covered their costs livestreaming, it will be impossible to find this additional money retrospectively.”
According to the MMF and FAC, PRS has so far declined to enter into consultation about the proposed tariff, and it’s for this reason the bodies are making their position public. Additionally, they are inviting more managers and artists to add their signatures to the letter to demand a “full and transparent consultation”.
“The proposed online live concert pilot licence scheme is still evolving”
This consultation, the letter concludes, “should also aim to provide certainty that PRS actually holds a mandate to license livestreaming events on a global basis.
“Until that process is concluded, we are working on the basis that the current live tariff is the applicable rate to these ticketed events.”
Responding, a PRS for Music spokesperson says: “PRS For Music members, alongside many others across our sector, have been very badly impacted by the shutdown of live music this year. We welcome the many initiatives to move live concerts online and PRS For Music has designed an online live concert licence, which will allow the necessary rights to be licensed.
“The proposed pilot licence scheme is still evolving. As conversations with our partners are active and ongoing, it would not be right for us to provide further detail or comment at this stage while we await their assessment and feedback.
“Of course, our primary role is to protect our members’ rights and to ensure they are paid fairly for their work, which is more important than ever now. We hope that these conversation will progress quickly.”
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The Associates: EAA, FAC, Iceland Music
Covid-19 has impacted every business sector around the world, but with live entertainment likely to be one of the last industries to return, given social distancing regulations, the associations that represent its millions of employees have never been more important.
As restrictions in many countries enter yet another month, for issue 91 IQ found out more about some of our association partners and discovered just what they are doing to help their members navigate and survive.
Following the last instalment with the BPI, CLMA and Dansk Live, this time we check in with the European Arenas Association, the UK’s Featured Artists Coalition and Iceland Music.
European Arenas Association
Representing 33 arenas across 20 countries, the aim of the European Arenas Association (EAA) is to provide consistency, support, best practice and networking opportunities for its members, to allow and encourage them to share experiences and common ground. Membership usually costs €4,000 per year.
The arena industry has been hit particularly hard in the pandemic, so support for the EEA membership during these challenging times has included:
- Surveys to establish the different protocols and procedures followed in the initial stages of the outbreak
- Discussion platforms to allow all members to have direct contact with each other and share concerns/questions
- Cancellation of 2020 membership fees to alleviate financial pressure
- Lobbying the EU via the EU sub-group network
The EAA cancelled its 2020 membership fees to alleviate financial pressure
Featured Artists Coalition (UK)
The Featured Artists Coalition (FAC) is the UK trade body representing the specific rights and interests of music artists. It is a not-for-profit organisation, serving a diverse, global membership of creators at all stages of their careers. The FAC was formed by artists, for artists, and places this ethos at the centre of all it does. It advocates, educates, collaborates and researches on behalf of artists, coming together to provide a strong collective voice within the industry and to governments domestically and abroad.
Formed in 2009, by seminal artists including Billy Bragg and Pink Floyd’s Nick Mason, the FAC’s board still represents some of the most recognised names in the music world, with current artists in residence that include Radiohead’s Ed O’Brien, Imogen Heap, Katie Melua, Sandie Shaw, Howard Jones, Fran Healy (Travis) and Blur’s David Rowntree. There are around 3,500 FAC members, whose fees are £5 (€5.60) monthly or £50 (€56) per year.
During the pandemic, the FAC has focused on different areas at different times (as is the nature of the impact). It moved quickly to survey members to assess the immediate impact of the lockdown. That data hugely supported its lobbying efforts both within the industry and to government. FAC’s Covid-19 directory has been keeping members up to date, while the organisation’s events have moved online to boost the community aspects of their work.
Iceland Music has been lobbying government to get funds into the system to assist with the drop in revenue for musicians and promoters
Iceland Music is an information agency and music export office. It does not have a membership system, but provides all sorts of information and support to the music community in Iceland, and promotes Icelandic music abroad.
The organisation runs IcelandMusic.is (in English) which offers a portal into the country’s diverse music scene, and Uton.is (in Icelandic), which provides a large range of tools, news and information for the local music community.
Iceland Music also administers the Music Export Fund, which distributes travel grants monthly and marketing grants quarterly. It also runs projects like Record in Iceland, which is a programme offering a 25% refund for projects that are recorded in Icelandic studios, and Firestarter Accelerator, which provides support for small businesses within the music community.
During the pandemic, the organisation has been lobbying government to get funds into the system to assist with the drop in revenue for musicians and promoters, venues, record stores and related operators.
Iceland Music has also been updating its educational materials, creating webinars, podcasts and educational videos that enable those working in the industry to learn more about the business.
This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.
MMF survey: Covid-19 to cost artists, managers over £68m
The UK’s Music Managers Forum (MMF) and the Featured Artists Coalition (FAC) has today highlighted the impact of the coronavirus live music shutdown, with over £50m already lost to the wider music economy, including £3.1m in lost management commission.
The MMF and FAC project that loss of income if all shows are cancelled for the next six months will surpass £61.4m, with a projected loss of £7.1m from merchandise sales, record sales and other related sales.
The findings are drawn from survey responses from more than 150 music managers and artists, detailing the impact of more than 2,100 cancelled shows, delayed campaigns and lost earnings.
Aside from an immediate loss of cash-flow, the findings raise concerns for the commercial music sector’s longer-term sustainability. The organisations call for greater assistance from the UK’s largest music businesses and organisations, given that the government’s recently announced support measures for the self-employed will not pay out until June.
The MMF and FAC welcome the creation of emergency funding initiatives, such as Arts Council England’s £160 million package for cultural organisations, freelancers and individual artists; Help Musicians’ £5m coronavirus financial hardship fund, which today received an additional £500,000 from the Royal Society of Musicians of Great Britain; the Musicians’ Union’s £1m coronavirus hardship fund, the PRS for Music emergency relief fund and Spotify’s Covid-19 music relief fund.
“Artists and music makers are faced with a short term crisis and a longer-term catastrophe”
However, the organisations point to measures put in place in other countries, such as the German music licensing society’s (GEMA) €40m crisis fund for its songwriter members, the Swedish government’s €45m cultural response fund and the Norwegian government’s earmarking of €25m funding for the cultural sector, and state more must be done by large UK music businesses “particularly in the recorded sector”.
MMF and FAC propose that major labels, major music publishers and “others who can afford it” offer artists and songwriters a “recoupment holiday”; direct contributions to emergency support funds for artists and their teams; a diversion of “unattributable” royalty collections into an emergency hardship fund; and advances on performer and composer royalties as loans against future payments.
“Artists and music makers are faced with a short term crisis and a longer-term catastrophe,” comments MMF CEO Annabella Coldrick. “This MMF and FAC survey is only a snapshot, but it highlights that millions of pounds have already been lost through cancelled shows and campaigns.
“With government support for freelancers not kicking in until June we need the biggest record labels, music publishers and licensing organisations to act. We need them to do more, and we need them to do so now.”
FAC general manager David Martin adds: “We need all parts of the global music community to do their bit to support those that are most in need, and those with the greatest resource must do their fair share to provide this support.”
Neneh Cherry to be named ‘pioneer’ at A&MAs
The Music Managers Forum (MMF) and Featured Artists Coalition (FAC) have revealed that Swedish-born singer and rapper Neneh Cherry will receive the pioneer award at the 2019 Artist & Manager Awards (A&MAs) in November.
The award, sponsored by Facebook, will be presented at the A&MAs on Thursday 14 November at the Bloomsbury Big Top in London. BBC Radio 1’s Huw Stephens will host the evening, which is sponsored by travel, lifestyle and hospitality brand Selina.
New Order managers Rebecca Boulton and Andy Robinson will pick up the managers’ manager award at the ceremony, with Nile Rodgers receiving the artists’ artist award.
Cherry has released five solo albums over a career spanning more than three decades. The artist kicked off her musical journey performing in post-punk bands the Slits and Rip Rig + Panic, before working with Bristol band Massive Attack on the album Blue Lines.
“Neneh Cherry has had an incredible career and her unique sound and energised performances have an ongoing influence
Cherry has also collaborated with artists including Michael Stipe, Robyn, Lenny Kravitz, Kieren Hebden (also known as Four Tet) and her husband, Cameron McVey.
A busy 2019 saw Cherry perform at Flow Festival, Way Out West, Pitchfork Music Festival, Latitude, Nice Jazz Festival, Roskilde, Primavera Sound and Glastonbury Festival, among others.
“[Cherry] has had an incredible career and her unique sound and energised performances have an ongoing influence made even more powerful by the fact that, having already reshaped musical culture and norms in music, she is still pushing creative and cultural boundaries decades later,” comments FAC board member Lucy Pullin.
“In partnership with Facebook and the illustrious board of the FAC we are delighted to honour Neneh Cherry with our pioneer award.”
Previous recipients of the award include Kano, Giggs, Imogen Heap and Amanda Palmer.
A full list of winners and nominees will be revealed in coming weeks.
New Order managers to receive top prize at A&MAs
Prime Management’s Rebecca Boulton and Andy Robinson, the longtime managers of New Order, will be presented with the coveted managers’ manager award at the 2019 Artist & Manager Awards (A&MAs) this November.
The award, sponsored by SJM Concerts, is given to an individual or company who has gained the respect of their peers over a sustained career. Previous recipients of the prize, formerly known as the Peter Grant award, are Modest! Management (2018), Jonathan Kessler (2017), Peter Rudge (2016), Jim Beach (2015), Paul Loasby (2014), Terry Blamey (2012) and John Glover (2011).
With Prime, Boulton and Robinson have represented the electronic music pioneers since 1999, following the premature death of original manager Rob Gretton. In 2015, following a decade-long absence, New Order released an album of new material, Music Complete on Mute Records, and the band continue to headline festivals and shows worldwide, notably releasing live album ∑(NO,12K,LG,17MIF), captured during the 2017 Manchester International Festival, last month.
“For protecting and nurturing a legacy, while enabling the creators of that legacy to thrive, Rebecca and Andy are deserving recipients of the MMF’s ultimate honour,” say awards organisers Music Managers Forum (MMF) and Featured Artists Coalition (FAC).
In a joint statement, the Prime pair say: “In 1999, after the untimely death of Joy Division and New Order’s mercurial manager, Rob Gretton, the opportunity arose to manage two of the greatest bands ever. Fortunately they let us do it, and 20 years later we’re still here.
“What Rebecca and Andy have achieved is almost without precedent”
“Despite some ups and downs, we’ve had great success working with their new material and two of the most influential and credible catalogues from any UK artists.”
Under the A&MAs’ previous incarnation, the British Music Roll of Honour, the award was received by Simon Fuller (2008), Bill Curbishley (2007), Paul McGuiness (2006), David Enthoven and Tim Clark (2004), Jazz Summers (2003), Ian McAndrew and Colin Lester (2002), Chris Morrison (2001), Tony Smith (2000), Rod Smallwood (1999), Ed Bicknell (1998), Gail Colson (1997) and Geoff Travis and Jeanette Lee (1996).
Annabella Coldrick, chief executive of the MMF, says: “What Rebecca and Andy have achieved is, I think, almost without precedent. Having assumed management of one of the UK’s greatest and most independent acts, they have successfully navigated New Order through tragedy and pitfalls – keeping a heavyweight legacy intact, while ensuring the band’s creative relevance endures for a new generation of fans.
“They are a complete inspiration, and I am delighted both have accepted this recognition from the music management community.”
Celebrating achievements in the UK’s artist and management community, 2019’s A&MAs takes place at the Bloomsbury Big Top in London on Thursday 14 November.
As previously announced, Nile Rodgers will receive the artists’ artist award. Other winners will be revealed in the coming weeks.
Brexit Britain must remain a welcoming home for music
We are used to smoke and mirrors in this business, but live exemplifies the fog of dread that Brexit has draped over us.
That dread is shared equally between those emerging onto the live scene and established artists like Jeremy Pritchard (Everything Everything) and Sam Lee. Westminster would rather navel gaze than look ahead at the moment, enjoying theatrical heckling more than problem solving.
This isn’t entertaining for anyone watching – anyone who will be worse off than before Brexit was launched at our economy, and any sense of international pride. No one voted for this.
The live industry manifests our country’s funk and some daunting prospects ahead. Despite nationalist rhetoric, we seem to have forgotten our national scenes. The arts have been systemically de-validated politically, venues are squeezed out for ‘luxury’ apartments and our gigging economy is “ranked as one of the lowest paying in Europe”, according to Sam Lee.
Both artist and programmer, Sam says that our international trouble has already started. Over the past few years, red tape has been making life difficult for programmers of culturally rich festivals. Cultural growth is a process of absorption and evolution; a sharing, exploring, experimental journey that finds a voice and soundtracks a period in time. Barriers to touring will become “a tourniquet, depriving UK citizens of the opportunity to experience non-British music with enriching ethnic diversity,” says Sam.
There is, says Jeremy Pritchard, “a disheartening sense of isolationism”
This diversity is the frame of reference we use to express ourselves musically. We are really good at it, too.
Barriers to others will weaken our negotiating hand if we need visa dispensations in future. Politicians are first to hawk the cultural superiority of ‘brand UK’: our global supremacy in producing cultural leaders. If the best of the world isn’t welcome and our talent can’t grow with them, then these words could become echoes of history. There is, says Jeremy, “a disheartening sense of isolationism.”
Roxanne de Bastion is looking through the lens shared by the great swath of artists who rely on touring. Live is their “bread and butter”, she says; a means to pursue a craft, validation, fans – and food on the table. Restricting movement could put all of those “out of reach”, says fellow artist, Eckoes.
Music presents an opportunity to generate revenues, influence and resonance beyond borders. We have £4.5 billion reasons to be cheerful about music’s economic might. For music’s future, however, it needs a supportive, respectful and welcoming home.
Artist & Manager Awards 2018 to recognise Kili and DHP
Kilimanjaro Live and DHP Family will be jointly recognised for their stand against large-scale ticket touting at this year’s Artist & Manager Awards.
The promoters – which, along with AEG Presents, jointly promoted Ed Sheeran’s recent UK stadium shows, for which unauthorised ticket resale was prohibited and thousands of touted tickets were invalidated – will receive the FanFair Alliance Award for Outstanding Contribution to Live Music at this year’s awards, which take place on 14 November at the new venue of Bloomsbury Big Top.
Newly created by anti-touting group FanFair Alliance in partnership with Music Managers Forum (MMF) and Featured Artists Coalition (FAC), the award acknowledges “the high profile anti-touting initiatives of both Kilimanjaro and DHP Family, and their commitment to fairer ticketing for UK audiences”, say organisers.
Annabella Coldrick, chief executive of MMF, which organises the awards with FAC, comments: “Given the unbelievable successes of the FanFair campaign to overhaul secondary ticketing, it feels entirely fitting that we should celebrate the companies and individuals who have delivered a positive change for artists and audiences. Kilimanjaro and DHP Family have both led the way to help eradicate large-scale ticket touting. They are worthy winners.”
“Kilimanjaro and DHP Family have both led the way to help eradicate large-scale ticket touting. They are worthy winners”
Adds Dan Ealam, director of live at DHP Family: “We are all so proud at DHP Family to accept this award alongside everyone at Kilimanjaro. Seeing in person the real distress and negative impact that unethical secondary sites cause to the lives of music fans, and also our industry as a whole, it was a no-brainer to do all we could to support our artists in getting their tickets into the hands of their fans.
“While mass-scale online ticket touting still exists, we’ll continue to do all we can to support the fight and we thank the MMF and FAC, not only for this award, but also for their vital support in this process.”
Other A&MAs 2018 honourees include Elbow’s Guy Garvey, who will take home the Artist’s Artist award, and Small Green Shoots, the awards’ charity partner.
Further winners will be announced in the coming weeks.
A&MAs: One Love Manchester team named ‘industry champions’
Ariana Grande, her manager, Scooter Braun, Festival Republic MD Melvin Benn and SJM Concerts’ Simon Moran were tonight honoured as ‘industry champions’ at the sixth Artist & Manager Awards, recognising their efforts in producing the One Love Manchester concert on 4 June 2017, which raised more than £17m for victims of the Manchester Arena bombing and their families.
The Artist & Manager Awards, organised by the Music Managers Forum (MMF) and Featured Artists Coalition (FAC), celebrate innovation and achievement in the artist management sector. The 2017 ceremony took place this evening (14 November) at south London venue Printworks.
The industry champion award was presented by FAC’s Imogen Heap, who performed with Grande at One Love Manchester, and was accompanied by video messages from Braun and Andy Burnham, the mayor of Greater Manchester.
“Although this is incredible, I want us to remember that the city of Manchester and all those families are the real heroes,” said Braun. “Sixty thousand people of Manchester came forward and filled that stadium. It was the greatest act of defiance in the face of evil that I’ve ever witnessed, and I will never ever forget it.
“On behalf of myself, Ariana and the rest of the team, I want to say to the city of Manchester, ‘thank you’ – this is your award tonight, and you have taught us all a valuable lesson. Evil will never win.”
Annabella Coldrick, chief executive of the MMF, added: “The terrorist attack at Ariana Grande’s Manchester Arena show was one of the year’s darkest moments, targeting young music fans and their families. It left 22 dead and more than 250 injured. To organise a concert in their memory, and to turn it into a joyous celebration of youth and music, was an incredible achievement.
“I want to say to the city of Manchester: ‘thank you’. This is your award tonight”
“The MMF and FAC are humbled to honour the team behind One Love Manchester, and would like to dedicate this award to all those still impacted by the events of 22 May.”
Other winners at the A&MAs, which was sponsored by Spotify, included Depeche Mode’s longtime manager, Jonathan Kessler, who picked up the Peter Grant award for lifetime achievement, and Tracey Thorn, who was crowned artists’ artist.
The award for manager of the year was presented to Tap Management’s Ben Mawson and Ed Millett by Lana Del Rey, while Rag’n’Bone Man was declared artist of the year, recognising his decade-long journey to success.
Giggs and his management team, Michael ‘Buck’ Maris and Trenton Harrison-Lewis, received the pioneer award from Island Records president Darcus Beese OBE, while Eleven Management’s Niamh Byrne and Regine Moylett received the entrepreneur award for their work on Gorillaz’s album campaign for Humanz. Echo Beach Management’s Jill Hollywood picked up the award for writer/producer manager.
A special tribute was also paid to former MMF president Jon Webster, who stepped down earlier this year to write a book about his experiences at Virgin Records in the 1980s. Performances on the night came from Dermot Kennedy, one of TAP Management’s priority artists, and ATC Managements’ the Boxer Rebellion.
A full list of winners is available from the A&MAs website.