The Mercury Prize is widely considered the most acclaimed prize in British music, with its existence as an award voted for by other artists setting it apart from becoming just a popularity contest. The diversity amongst the judges, with musicians such as rapper Loyle Carner and DJ Annie Mac, provides space for less well-known musicians to come to the fore. From indie-pop and grime right through to Cornish folk and South London soul, there’s something here for everyone.
But, just in case you haven’t had the chance to waste a week listening to all twelve nominees back-to-back, I thought I’d do it for you. Part 1 of my deep-dive into the best British music of 2022 covers the big-hitters, from Sam Fender to Harry Styles. So here we go, my definitive guide to this year’s Mercury Prize starts here…
Harry Styles – Harry’s House
He’s come a long way from One Direction, that’s for sure! Leaving behind the sugary and often soulless noise that has become Simon Cowell’s trademark, Harry Styles has risen to become probably the biggest male pop star on the planet right now. Debut album Fine Line showed range that many thought he didn’t have, both vocally and in terms of song writing and musical talent. With Harry’s House, he once again changes tack, following a more mellow and perhaps melodic route than the punchier style of Fine Line ('Adore You’, ‘Lights Out’). For me, however, the record feels one-dimensional and therefore a smidgen boring. It’s ironic that his old group was One Direction, because this album follows a path and does not stray from it at any point. There’s nothing wrong with it necessarily, if the songs came on during a drive to work or whilst writing a long, long blog post then I wouldn’t baulk in reaction. But I don’t think the album warrants the almost sycophantic praise it got from critics and fans alike. Lead single ‘As It Was’ is the highlight on the album, providing introspective lyrics with a good hook and catchy melody. It feels as though Harry’s life has caught up with him, with his newfound acting career and constant touring maybe decreasing the amount of time he spent on this album and therefore leaves it feeling superficial and almost cold.
Take a break, Harry. Get yourself a Kit-Kat and have some time off son, I promise it’ll help.
For fans of: Jungle, Alfie Templeman, Easy Life
Must-hear tracks: As It Was, Grapejuice
Little Simz – Sometimes I Might Be Introvert
Islington-born Simbiatu Abisola Abiola Ajikawo, aka Little Simz, truly deserves her place on this shortlist. Sometimes I Might Be Introvert is the first rap album I’ve listened to all the way through and then actually gone back for seconds (although Dave’s Psychodrama nearly made that category too). There is unexpected light and shade on this album, with an added Yoruba flavour from Simz’s Nigerian heritage that sets it apart from the vast amount of grime music out there. ‘Introvert’ is one of the strongest openers I’ve heard for a while, setting up the concept of the album perfectly. It combines elements of self-doubt and attempts to deal with wider fame and pressures, whilst also acknowledging the obvious pride she has in her work and in where she has got to after her life started on a council estate in North London.
I love most of this album. Nods to the importance of black and female culture globally (‘Woman’, ‘Standing Ovation’) as well as the aforementioned African music elements are stunning, providing much needed emphasis on how the diversity of the music industry and of the nation as a whole (at time of writing) is what keeps the world turning. Having said this, the interludes of spoken word that are meant to represent the voice inside Simz’s head that holds her back and keeps her within boundaries come slightly too often for me. There is no doubt, however, that Simz has managed to create a truly exceptional album. Even if it does not win her the Mercury, it’s certainly won her a lot of new fans. She will be a festival headliner in the very near future, mark my words.
For fans of: Dave, Stormzy, Loyle Carner
Must-hear tracks: Rollin’ Stone, Speed
Sam Fender – Seventeen Going Under
In many ways, this was the album I was most worried about going into this. His debut album, Hypersonic Missiles (2019), saw him burst into the indie-rock scene. With Springsteen-esque saxophone solos, catchy hooks and politically charged lyrics that symbolise the anger of several generations of forgotten communities in his native North East, it is one of my favourite albums of the last few years. As a result, it was always going to be a hard task for Seventeen Going Under to live up to expectation. Which it doesn’t. Don’t get me wrong, the title-track alongside other singles such as ‘Getting Started’ and ‘Get You Down’ are just as catchy as Sam has ever been, and the sheer fury behind the no-fucks-given ‘Aye’ and the punk-inspired ‘Howdon Aldi Death Queue’ are genuinely world-class tunes.
Clearly, he has tried to tap into his own past and is unapologetic about his trauma. Regrets about his relationship with his father (‘Spit Of You’), as well as odes to those who didn’t last the night (‘Last To Make It Home’) allow him to show a side of his personality which was missing from Hypersonic Missiles. Fender’s love of Springsteen does turn this album into something of a tribute act, with many songs sounding like they could have been found on the cutting room floor the day ‘The Boss’ wrote Dancing in the Dark. Having said that, ‘Seventeen Going Under’ (the song) was one of the songs of the summer and catapulted Fender to levels that a lad from North Shields could never have dreamed; his one-day festival at Finsbury Park, supported by the likes of Fontaines D.C. and Declan McKenna, saw him play to 45,000 fans – a far cry from the O2 Academy Newcastle where I first saw him in 2019.
I love Sam to bits, but this album just doesn’t quite do it for me.
For fans of: Bruce Springsteen, Catfish and the Bottlemen, Arctic Monkeys
Must-hear tracks: Seventeen Going Under, Howdon Aldi Death Queue
Self Esteem – Prioritise Pleasure
Rebecca Lucy Taylor (aka Self Esteem) has become something of a cult icon. Outspoken about her sexuality and relationship history, about her feminism, about her views on society more widely, have all gained her a lot of new fans; her idea to distribute food from the postponed Mercury Award show after the death of the Queen symbolises a woman wearing her heart on her sleeve. Prioritise Pleasure is Taylor laid bare. Sonically, this album is BIG. Not loud, necessarily, but clearly driven by a determination to catch the listener’s attention. Harmonies everywhere, driven drumbeats like a Viking rowboat (‘Prioritise Pleasure’) and basslines that vibrate through you (‘I’m Fine’), Taylor has something to say and won’t rest until you’ve heard her.
Spoken word in ‘I Do This All The Time’ provides raw edge, drawing on her past experiences to provide a manifesto for the modern youth (“don’t send those long paragraph texts/stop it, don’t.”). Sizzling with sardonic commentary on the state of dating in the 21st Century, mixed in with loops that wouldn’t be out of place on a 1980s disco album, PP combines classic elements of pop to create a product that is almost there. What feels original at the start of the record begins to descend into a degree of repetition. The subject matter is clearly taken from a specific pool of ideas, and whilst they are admirable and relatable topics, the initial drive and purpose at the top of the album waivers and ultimately fades away by the time we reach song #7.
Taylor has not been shy in admitting that she wants this award. This album has some great moments, for sure, but is it enough to secure first prize? I suppose only time will tell…
For fans of: Jessie Ware, Madonna, Prince
Must-hear tracks: I Do This All The Time, You Forever
Click here for Part 2 of this year's artist-by-artist rundown, which looks at the weird and wonderful side of the Mercury Prize.
The Mercury Prize 2022 will be awarded on Tuesday 18th October and broadcast on BBC 4 at 9pm.