It’s a shame golden oldies like Tom Jones aren’t cool enough for the Mercury Prize
The shortlist for the Mercury Prize 2021 has been announced, and – I hope you’re sitting down - Sir Tom Jones is nowhere to be found upon it. I know. I know. Try and keep calm. There have been worst injustices in the history of mankind, but right now – in the heat of the moment – you may find it hard to think of one.
OK, I’m joking. I don’t suppose news that Britain’s most self-consciously arty music prize has neglected an octogenarian music legend will actually come as a shock to anyone who has followed the Mercury prize since its inception in 1992. But, still, I like to think that somewhere in the foothills of a sleepy village in Wales, a great roar of outrage is stirring as Jones the Singer searches in vain for his name on that hallowed list before letting out an inconsolable roar: “Why? Why? WHY????”
What does Tom Jones have to do to get the attention of Britain’s critical tastemakers? The 81-year-old belter received the best reviews of his long musical life for his latest album, Surrounded By Time, which found him in profound and reflective mood, his barnacled baritone attached to soundscapes blending ancient roots music with futuristic sonic flares. According to review aggregator site Metacritic, it was greeted with “universal acclaim”, with an aggregated score of 83 (out of a 100) critical points. By contrast poetic downbeat rapper producer BERWYN received no points at all on Metacritic, probably because hardly anyone noticed his anxious, moody and introverted album DEMOTAPE/VEGA had actually been released. It never charted anywhere in the world and was only reviewed in a couple of publications.
I’m really not picking on Berwyn, by the way. Supporters of the Mercury would argue that it is the job of the prize to draw attention to innovative artists who might otherwise go under the radar. This maverick young rapper is producing highly individual work that captures the nebulous and nervous mood of the pandemic year and is definitely worth a listen. As, indeed, are all 12 of the albums on an interesting shortlist, which finds space for such eclectic yet fascinating works as experimental Northern Irish composer Hannah Peel’s discombobulating electro Fir Wave; English jazz saxophonist Nubya Garcia’s warm exploration of black musical history on Source; and anonymous collective SAULT’s soulful, funky and at times quite emotionally devastating Black Lives Matter themed collection Untitled (Rise). If I was a betting man, I’d get down the bookies now and put my money on SAULT to win. It’s a rich album, with wide musical parameters, that resonates with the themes and concerns of this strange moment in time.
As, indeed, did Surrounded By Time by Tom Jones. But that is another story. My only genuine issue with the Mercury (and it is an old one in itself) is that its supposedly progressive criteria has made it effectively self-selecting and incredibly predictable. It purports to be an annual prize for the best album released in the United Kingdom by a British or Irish act. But it is really only interested in a certain kind of edgy artist pushing at critically defined musical boundaries, rendering itself deaf and blind to proven and established musical talent, many of whom continue to explore the frontiers of their own rich musicality with fantastic results.
How about Paul Weller, whose Fat Pop (Volume 1) also received “universal acclaim”, continuing an hugely acclaimed and popularly loved life in music? It was an album full of beguiling melodies, interesting lyrics and bold production flourishes. It went straight to No1 in the UK because music lovers have invested in an artist who always delivers. Yet the old Mod is (once again) nowhere to be found on the Mercury Prize list. By contrast, Laura Mvula is on there for the third time running, with a retro eighties themed album Pink Noise that set out its stall as the most commercially honed of her career, yet despite huge promotion and critical praise stalled at number 21. Mvula has become almost the definition of a Mercury Prize artist, beloved by critics but failing to connect with the general public.
As for the predictability of the list, I made my own guess of what it would be (and why) and posted it on Twitter yesterday. I got 7 out of 12 right. In part, this was because they genuinely were seven of the most interesting albums to be released in the UK last year, from inspirational singer-songwriter Arlo Parks; inventive guitar band Wolf Alice; brave and brilliant rapper Ghetts; sprawling, poetic rock ensemble Black Country, New Road; and instrumental rock mavericks Mogwai, who almost defy the Mercury’s unconscious age bias, all being in their forties.
And perhaps we can all agree on the blissful, swoonsome joy of Promises by Floating Points, a British electronic music producer who has effected an astonishing collaboration with veteran American jazz saxophonist Pharoah Sanders. At 80 years old, Sanders is almost as ancient as Sir Tom, so perhaps it is just British veterans the Mercury panel turns a deaf ear to. Their gorgeous album is also credited to The London Symphony Orchestra. Now there’s an old ensemble I never thought would be up for a Mercury Prize.
To my shame, I overlooked Celeste in my predictions. It’s a lovely jazzy soulful album, from a talent who I think is going to grow and grow over the years. I’m not convinced it was one of the albums of the year, but it’s a beauty. Is it any stronger than those albums the Mercury panel obviously overlooked by Fontaines DC (the rock album of the year, surely), IDLES, Arab Strap, Sleaford Mods, For Those I Love (brilliant and passionate Dublin rapper-producer whose emotional debut album certainly deserved more attention), The Anchoress, Dry Cleaning, AJ Tracey, Headie One and Sons of Kemet?
Clearly that is a matter of personal taste, and every music lover will have a (better) list of their own. I just can’t help but think the Mercury 2021 shortlist is lacking star power, a couple of names that could have focused public attention and argument, and just brought some razzle dazzle to the occasion. There is a big Sir Tom shaped space right in its critical heart.
The 2021 Mercury Prize shortlist in full
Arlo Parks – Collapsed in Sunbeams
Berwyn – Demotape/Vega
Black Country, New Road – For the First Time
Celeste – Not Your Muse
Floating Points, Pharoah Sanders and the London Symphony Orchestra – Promises
Ghetts – Conflict of Interest
Hannah Peel – Fir Wave
Laura Mvula – Pink Noise
Mogwai – As the Love Continues
Nubya Garcia – Source
SAULT – Untitled (Rise)
Wolf Alice – Blue Weekend
