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Raye was at a loss for words when she received her first Brit award of the night for song of the year. She then made a plea for songwriters to receive recognition for their work on master recordings. By the time she tearfully accepted her sixth award for album of the year, the British pop star had almost run out of words. This resulted in her “ugly crying” on national television. Raye had already broken the record for most nominations in a single year with seven nods, including two for best song and one for best songwriter. She then surpassed the record for most wins in a single year, previously held by Harry Styles, Adele, and Blur with four each. Styles had achieved this in 2023 as a celebration of his global success, while Raye had not achieved the same level of commercial or international reach. However, her almost clean sweep of awards reflects the creative talent showcased in her debut album, My 21st Century Blues, which features a mix of rap, R&B, dance, pop, soul, and powerful ballads. This makes her a worthy peer to this year’s best international artist, SZA, who also blends different genres, and to past British solo female artist winner Amy Winehouse. Rachell Keen, also known as Raye, is 26 years old and has been signed to Polydor for seven years. Despite not being recognized at the Grammys last month, her success at the Brit Awards highlights her as a hometown success story. However, it also exposes a major failure of the British music industry, which overlooked her talent for years.
In 2021, Raye posted a very emotional plea on social media, revealing that her record label had denied her the opportunity to create any of the four albums in her contract. She expressed frustration that many of her songs, including the chart-topping hit “Escapism,” were left unused on a hard drive. Instead, she was stuck as a guest vocalist on generic tracks by artists like David Guetta and Jax Jones. Historically, there have been many female pop stars who have fought against their labels, but typically with little success, as seen with Britney Spears and Sky Ferreira. However, surprisingly, Polydor released Raye from her contract, and she began working as an independent artist with the help of label services company, the Orchard. She wrote most of her long-awaited debut album on her own and co-produced all but two tracks. It reached No 2 on the charts and earned her a nomination for the Mercury prize and a win at the Ivor Novello awards. The fact that Polydor couldn’t see Raye’s potential beyond just being a club banger artist should raise serious concerns about the A&R practices of major labels and the possibility of other young women being held back.
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At the moment, Raye’s recognition by the British music industry through the 1,200-strong Brits voting academy seems like a desperate attempt to claim her as their own and validate her success. Despite this, there is also a sense of sympathy for other deserving acts who were overshadowed by Raye’s fairy-tale outcome, which was highlighted in the cameras cutting to their reactions. While we should not forget how she excelled in her second act, it is worth mentioning that Raye is not yet a household name. However, the Brit awards, although increasingly irrelevant, still have the power to expose new talent, as seen in Raye’s extraordinary performance and rise in prominence on this evening’s televised platform. She appeals to a wide range of audiences, from Winehouse-loving teenagers who never got to experience her era, to older listeners impressed by her traditional talents and soulful prowess showcased in her concert at the Royal Albert Hall last year. While the Brits may simply add another trophy to the shelf for established superstars, it could also have a major impact on Raye’s streaming numbers in the upcoming week, as her potential audience is vast.
Raye’s success at this year’s Brit Awards represents a shift towards inclusivity and gender equality within the music industry. The controversy over the all-male best artist category last year led to the awards eliminating gendered categories in 2022. This year, 70% of the winners, including those announced before the ceremony, were women. This trend was also seen at the Grammys, where women dominated the Big Four and genre categories.
One notable male victor was rapper Casisdead, who won best hip-hop/grime/rap. This category, along with all the genre categories, was voted for by fans. After 20 years in the industry, Casisdead’s win was a significant moment. Another all-male win was in the alternative/rock field, where Bring Me the Horizon emerged victorious.
Despite some questionable moments, such as Calvin Harris winning best dance act over Fred Again, who had a more cultural impact in the past year, the Brits continue to be a contradictory event. Jungle winning best group over Young Fathers is an example, as it highlights the clash between mainstream appeal and daring, thought-provoking art. This paradox reflects the identity crisis in Britain, while also embodying a progressive, multicultural alternative. Ultimately, the Brits remain a celebration of the music industry, though they have faced criticism for silencing some of their most important voices.
Source: theguardian.com
