Formerly known as The Mercury Music Prize, it's fair to say that the Mercury Prize is easily the most respected in the music industry.
The prize is specifically focused on the best albums released by British and Irish Artists. One thing is for sure, some of the finest albums ever produced have made it to the shortlist.
The Mercury Prize has surprisingly been around for more than thirty years. I know that makes you feel old, hey!
But on a serious note, the great thing about the Mercury Prize is that it has introduced us to some remarkable acts.
Generally, if an album makes it to the shortlist, it's probably worth buying. For that reason, every artist or band shortlisted will see sales of that album go through the roof.
This is because the shortlist is chosen by an independent panel of musicians looking for the most innovative sound across all genres.
The Mercury Prize Shortlist 2025
The 2025 Mercury Prize shortlist features a bold mix of returning icons, modern pop voices, and boundary-pushing newcomers, with Sam Fender emerging as the strong betting favourite for this year’s award.
- CMAT – Euro-Country
- Emma-Jean Thackray – Weirdo
- FKA twigs – Eusexua
- Fontaines D.C. – Romance
- Jacob Alon – In Limerence
- Joe Webb – Hamstrings & Hurricanes
- Martin Carthy – Transform Me Then Into A Fish
- Pa Salieu – Afrikan Alien
- PinkPantheress – Fancy That
- Pulp – More
- Sam Fender – People Watching
- Wolf Alice – The Clearing
This year also marks the first time the Mercury Prize ceremony leaves London, with the event happening at Newcastle’s Utilita Arena on October 16th. Coverage will be provided by BBC Music, and the awarding panel features a blend of established broadcasters and industry insiders.
Betting Odds and Favourites
Bookmakers currently rate Sam Fender and his album People Watching as the even-money (1/1) favourite, especially given the Newcastle connection and widespread critical acclaim. Here’s how the odds stack up for the leading contenders:
| Artist | Album | Odds |
|---|---|---|
| Sam Fender | People Watching | 1/1 |
| Fontaines D.C. | Romance | 2/1 |
| CMAT | Euro-Country | 3/1 |
| Pulp | More | 3/1 |
| FKA twigs | Eusexua | 4/1 |
| PinkPantheress | Fancy That | 4/1 |
| Martin Carthy | Transform Me Then Into A Fish | 5/1 |
| Jacob Alon | In Limerence | 6/1 |
| Joe Webb | Hamstrings & Hurricanes | 6/1 |
| Emma-Jean Thackray | Weirdo | 7/1 |
| Pa Salieu | Afrikan Alien | 8/1 |
| Wolf Alice | The Clearing | 8/1 |
- Sam Fender is a local hero in Newcastle, making his Mercury bid particularly resonant as the event arrives in his home city.
- Iconic past winners Pulp and Wolf Alice also make the list, with Pulp’s first album in 24 years catching much attention.
- Diversity reigns, with genres from folk (Martin Carthy), jazz (Emma-Jean Thackray), and post-punk (Fontaines D.C.) to pop (PinkPantheress) in the mix.
Betting moves could shift as the event draws nearer, but for now, Sam Fender leads a compelling race for the UK’s most prestigious album prize.
The 2025 Nominees
Sam Fender – People Watching
With ‘People Watching’, North Shields’ own Sam Fender delivers his most personal and ambitious record to date.
The album combines anthemic indie rock with Springsteen-inspired storytelling, delving into working-class life, political frustrations, and family relationships.
Fender’s signature tenor and guitar-driven style shine on enormous choruses and string-laden ballads, especially on “We See You Now” and the title track.
Lyrically, Fender casts a sharp, empathetic gaze over post-pandemic Britain, critiquing inequality and celebrating everyday resilience. ‘People Watching’ confirms him as a voice of his generation—raw, melodic, and courageous—making him one of the favourites for this year’s Mercury Prize, especially with the ceremony taking place in his native Newcastle.
CMAT – Euro-Country
CMAT's ‘Euro-Country' finds the ever-irreverent Dublin singer transforming personal heartbreak and social observation into an audacious, big-hearted album.
Following the breakthrough ‘Crazymad, for Me', she draws on her Irish roots, blending classic country storytelling with European nuance and biting pop wit.
Signature tracks like “Take a Sexy Picture of Me” and “Lord Let That Tesla Crash” demonstrate her sharp eye for societal absurdities, tackling everything from toxic beauty ideals to capitalism’s grip on Irish identity.
The project stands out for its fusion of genres, from slide-guitar barnstormers to hyperpop-flavored anthems, packed with humor, camp, and moments of real tenderness.
CMAT’s eclectic style creates a world where heartbreak, politics, and pop culture live side-by-side, propelled by singalong choruses and clever lyrics. The album’s emotional depth ensures its resonance lingers, while CMAT’s infectious personality and unique genre-bending vision confirm her as one of the most compelling voices in modern pop.
Emma-Jean Thackray – Weirdo
Emma-Jean Thackray’s self-produced record ‘Weirdo’ is a kaleidoscopic jazz-funk triumph, written, performed, and mixed solo in her South London flat.
Emerging from a year marked by profound personal loss, Thackray channels grief, absurdity, and resilience into 19 tracks that blur genre boundaries and pulse with inventive detail.
Raised in West Yorkshire’s working-class community and shaped by classical training, she’s become a pivotal figure in the UK’s nu-jazz scene. ‘Weirdo’ radiates with squiggly synths, p-funk grooves, and soulful brass, all supporting warm, intimate lyrics that confront mortality and healing.
Collaborations with Reggie Watts and Kassa Overall lend additional flavor, but the heart of the album is Thackray’s multi-instrumental mastery and expressive voice.
Lyrically, the album oscillates between existential dread and wry, everyday humor, offering listeners both catharsis and joy. Ultimately, ‘Weirdo' stands as Thackray’s most personal and experimental work, solidifying her as one of the UK’s most fearless musical innovators.
FKA twigs – EUSEXUA
FKA twigs’ ‘EUSEXUA' marks a return to the radical electronic textures of her early work, infused with new thematic boldness and club-ready rhythms. Always conceptual, twigs crafts this album as an experiential journey, blending sci-fi narratives and icy percussion.
Producer Koreless brings futurist energy to tracks like “Drums of Death” and “Girl Feels Good,” while standout singles such as “Perfect Stranger” and “Striptease” fuse hyper-modern drum & bass, trip hop, and warped pop with twigs’ signature ethereal vocals.
‘EUSEXUA' moves between intense dance euphoria and vulnerable introspection, often within the same track, continually surprising listeners with sonic twists. Unusual collaborations, including a rapping feature from North West, add unexpected color.
The album cements FKA twigs’ role as a boundary-pushing artist who turns club culture and personal narrative into high art, ensuring her work remains as challenging as it is captivating.
Fontaines D.C. – Romance
‘Romance’ marks a daring step forward for the Dublin band, plunging headfirst into a dystopian soundscape inspired by classic Italian cinema and retrofuturist manga.
Shedding the gritty post-punk of their debut era, Fontaines D.C. now explore love, longing, and existential angst with fresh sonic ambition—melding shoegaze guitars, orchestral sweeps, and atmospheric electronics. Grian Chatten’s distinct, poetic lyricism still anchors the experience, but now his delivery ranges from delicate spoken-word to howl-at-the-moon urgency, as the band launches genre boundaries into the stratosphere.
Tracks like the brooding title opener and the sweeping “Desire” reimagine romance as something both exhilarating and catastrophic, threading darkness and hope throughout.
The album’s ambitious production, helmed by James Ford, elevates their trademark introspection into something cinematic, immediate, and emotionally raw—a bold demonstration of Fontaines D.C.’s continuous evolution and their refusal to rest on their laurels.
Jacob Alon – In Limerence
Jacob Alon’s extraordinary debut, ‘In Limerence’, is a poetic tapestry of folk, confessional songwriting, and subtle experimentation.
Built with producer Dan Carey in South London, the album draws comparisons to Sufjan Stevens and Devendra Banhart—combining plaintive picked guitar, swirling percussion, and Alon’s haunting falsetto.
Lyrically, it’s a record of profound emotional nuance, wrestling with trauma, queerness, desire, and self-acceptance. Alon crafts vivid, character-driven vignettes—like the aching ‘Confession’ and the sparse, beautiful ‘Don’t Fall Asleep’, which meditates on grief through a family tragedy.
Their songwriting brims with empathy, insight, and raw honesty, creating characters and scenarios that feel at once surreal and deeply human. With heartfelt melodies and candid, intimate storytelling, ‘In Limerence’ reveals a powerful new voice in British folk and indie: one whose debut already feels classic in its vulnerability and ambition.
Joe Webb – Hamstrings & Hurricanes
Joe Webb’s ‘Hamstrings & Hurricanes’ cements his reputation as a modern jazz maverick, fusing traditional forms with an irresistible sense of adventure and wit.
From the first moments, Webb’s dazzling piano—paired with his trio’s lively improvisation—casts a spell that recalls both New Orleans swing and Britpop’s melodic hooks.
The album’s title reflects moments of physical tension and meteorological chaos, translating into compositions that oscillate between stormy dynamism and gentle lyricism.
Tracks like ‘Beth Yn Galw’ show Webb’s fluency in stride piano and blues; others, such as the atmospheric ‘Newcastle Full Feel’, evoke cinematic drama and a touch of British nostalgia. With sidemen Will Sach and Sam Jesson, Webb’s unflagging creativity comes alive: playful, heartfelt, and always spontaneous. The continuous soundscape, woven from live improvisation and expressive harmony, confirms Joe Webb as a leading innovator on the current British jazz scene.
Martin Carthy – Transform Me Then Into A Fish
Minstrel and folk icon Martin Carthy delivers ‘Transform Me Then Into A Fish’, his first Mercury-shortlisted album at age 84.
Produced alongside his daughter Eliza Carthy, the record explores English folklore and modern meditations on time and identity.
Carthy’s guitar technique and unflinching vocals remain arresting—while new arrangements and subtle instrumentation give traditional ballads contemporary resonance.
The title track, a playful, wistful meditation on change, and reinterpretations of old standards highlight Carthy’s enduring ability to make the old feel urgent and new.
Personal tales are balanced with ruminations on political cycles, love, and legacy, offering a late-career work as intimate as it is ambitious.
For folk purists and new listeners, Carthy’s craftsmanship and humanity shine bright, cementing his standing among British music’s most influential figures.
Pa Salieu – Afrikan Alien
Pa Salieu’s second album, ‘Afrikan Alien’, is an explosive fusion of grime, afrofusion, and UK rap, marked by searing lyrical candor and sonic invention.
Written and recorded after Salieu’s release from prison, the album deals with exile, redemption, faith, and identity, using heavy beats and hypnotic West African percussion. Salieu’s distinct delivery—sometimes hushed, sometimes incendiary—explores themes of migration and street survival, weaving personal stories with broader political commentary.
Standout tracks like “Gambia Calling” mix fevered hooks and fierce truth-telling, while “Forgive, Don’t Forget” is a sober plea for understanding. Raw, unfiltered, and artistically restless, ‘Afrikan Alien’ positions Pa Salieu as one of the most vital and fearless voices in British rap today.
PinkPantheress – Fancy That
‘Fancy That’ pushes PinkPantheress’s signature bedroom pop into slicker, more experimental terrain. Inspired by the UK garage and jungle scenes, the album pairs catchy hooks with melancholy reflections on youth, internet romance, and self-doubt.
The production is full of stuttering beats, shimmering samples, and minimalist pop textures—turning tracks like “I Want to Call You” and “Mirrors” into irresistible, ultra-modern anthems.
PinkPantheress’s vocals are airy and intimate, keeping her confessional writing at the centre.
The album’s brevity and energy make for addictive listening, confirming her knack for making heartbreak and introspection sound bright and danceable. In ‘Fancy That’, PinkPantheress solidifies her reputation as the leading voice of a new era in British alt-pop.
Pulp – More
‘More’ is the long-awaited return of Britpop legends Pulp, arriving after over two decades away.
Jarvis Cocker leads the band through mature, reflective territory, balancing familiar wit with a newfound gravitas.
There are playful nods to Pulp’s classics, but the album leans into richer instrumentation—lush strings, electronic flourishes, and sharp, literary songwriting detailing love, regret, and middle age.
Tracks such as “The Old World” and “Sheffield Revisited” feel nostalgic and fresh, offering both longtime fans and newcomers abundant rewards.
Cocker’s voice remains compelling, charismatic, and often slyly political, making ‘More’ a triumphant, relevant return for one of the UK’s greatest pop acts.
Wolf Alice – The Clearing
Wolf Alice’s fourth LP, ‘The Clearing’, finds the beloved alt-rockers blending dreamy soundscapes, punchy guitars, and Ellie Rowsell’s evocative, versatile vocals.
The band expands on their past success, dabbling in trip-hop and shoegaze while focusing on clarity and emotional honesty. “Glass Gardens” is a standout, marrying lush melodies with cryptic, poetic lyrics; “Headlong” showcases the band’s fierce live energy in a studio setting.
Lyrical explorations of mental health, hope, and change give the album depth, while cinematic arrangements and haunting harmonies propel the group into new creative territory.
Every Wolf Alice album has received a Mercury nomination, and ‘The Clearing’ is another testament to their consistent brilliance and evolution as British rock’s most vital modern band.
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Previous Mercury Prize Winners
| Year | Winner | Album |
|---|---|---|
| 2024 | English Teacher | This Could Be Texas |
| 2023 | Ezra Collective | Where I'm Meant to Be |
| 2022 | Little Simz | Sometimes I Might Be Introvert |
| 2021 | Arlo Parks | Collapsed in Sunbeams |
| 2020 | Michael Kiwanuka | Kiwanuka |
| 2019 | Dave | Psychodrama |
| 2018 | Wolf Alice | Visions of a Life |
| 2017 | Sampha | Process |
| 2016 | Skepta | Konnichiwa |
| 2015 | Benjamin Clementine | At Least for Now |
| 2014 | Young Fathers | Dead |
| 2013 | James Blake | Overgrown |
| 2012 | Alt-J | An Awesome Wave |
| 2011 | PJ Harvey | Let England Shake |
| 2010 | The xx | xx |
| 2009 | Speech Debelle | Speech Therapy |
| 2008 | Elbow | The Seldom Seen Kid |
| 2007 | Klaxons | Myths of the Near Future |
| 2006 | Arctic Monkeys | Whatever People Say I Am, That's What I'm Not |
| 2005 | Antony and the Johnsons | I Am a Bird Now |
| 2004 | Franz Ferdinand | Franz Ferdinand |
| 2003 | Dizzee Rascal | Boy in da Corner |
| 2002 | Ms. Dynamite | A Little Deeper |
| 2001 | PJ Harvey | Stories from the City, Stories from the Sea |
| 2000 | Badly Drawn Boy | The Hour of Bewilderbeast |
| 1999 | Talvin Singh | OK |
| 1998 | Gomez | Bring It On |
| 1997 | Roni Size / Reprazent | New Forms |
| 1996 | Pulp | Different Class |
| 1995 | Portishead | Dummy |
| 1994 | M People | Elegant Slumming |
| 1993 | Suede | Suede |
| 1992 | Primal Scream | Screamadelica |
A Brief History of the Mercury Music Prize
The Mercury Music Prize, officially known as the Mercury Prize, has a storied history that spans over three decades.
Since its inception in 1992, the award has consistently celebrated the richness and diversity of the UK and Ireland's music scene, creating a platform to honour some of the most creative and critically acclaimed albums.
The award was established by the British Phonographic Industry and British Association of Record Dealers, in collaboration with the now-defunct Mercury Communications.
Its primary aim was to create an alternative to the BRIT Awards, which was seen as too commercial and focused on mainstream pop music.
The Mercury Prize, instead, placed the emphasis on artistic merit rather than commercial success.
The process behind the Mercury Prize is unique. Each year, an independent panel of judges, comprising music critics, musicians, producers, and other industry professionals, select the ‘Albums of the Year'.
This shortlist reflects the wealth of talent and innovation in the UK and Ireland's music industry and includes various genres, from pop and rock to grime, folk, dance, and beyond.
Since its inaugural year, when Primal Scream won the award for ‘Screamadelica', the Mercury Prize has helped spotlight both established and emerging artists.
Notable winners have included Portishead, Pulp, PJ Harvey, Dizzee Rascal, Arctic Monkeys, and more recently, Dave and Michael Kiwanuka.
Over the years, the Mercury Prize has gained a reputation for its unpredictability and commitment to recognising excellence, irrespective of an artist's commercial success.
This focus on artistry and innovation sets the Mercury Prize apart, making it one of the music calendar's most respected and anticipated events.
The Selection Process of the Mercury Prize
The Mercury Prize's selection process stands out for its fairness, independence, and emphasis on artistic merit.
Here's a glimpse into how this fascinating process unfolds each year.
Album Submission
Record companies, both large and small, as well as digital music platforms and self-releasing artists, are invited to submit their albums for consideration.
To be eligible, albums must be released by artists from the UK and Ireland during the 12-month eligibility period.
Selection of Judging Panel
The Mercury Prize is decided by an independent panel of judges, which changes yearly.
The panel is usually a mix of musicians, music journalists, music producers, and other industry professionals, all of whom bring a broad range of musical expertise and tastes.
Shortlist Compilation
The judges listen to all the submitted albums and engage in robust discussions to determine the shortlist of 12 ‘Albums of the Year'.
This is a painstaking process, and the shortlist isn't finalised until the announcement day.
Importantly, the shortlist reflects the panel's collective opinion rather than individual preferences.
Choosing the Winner
After revealing the shortlist, the judges reconvene to decide the ultimate winner. This typically happens on the day of the awards ceremony.
All the shortlisted albums are discussed again, with each judge championing their favourites. The winner is then decided through a majority vote.
Throughout this process, the focus remains on the music. The Mercury Prize does not consider an artist's commercial success or previous accolades.
The winning album is the one that, in the opinion of the judges, showcases the most innovation and creativity and represents a significant moment in the artist's career.
In summary, the Mercury Prize selection process is meticulous, independent, and focused solely on the music.
It's a celebration of the rich tapestry of the UK and Ireland's music scene, providing a platform for well-known and emerging talent.
Criticism and Controversy of the Mercury Prize
Like many influential institutions, the Mercury Prize has experienced its fair share of criticism and controversy throughout its existence.
One of the most recurrent criticisms revolves around the alleged genre bias. Despite its pledge to celebrate a broad range of music, some critics argue that certain genres, such as heavy metal and jazz, tend to be underrepresented. This has raised questions about the Prize's commitment to genre diversity.
The independence of the Mercury Prize from commercial influence has also been a point of contention.
While the Prize purports to focus solely on artistic merit, critics have suggested that high-profile artists or those under major labels seem to have a distinct advantage.
This contention challenges the claim that the Prize elevates artistry over commercial popularity.
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A peculiar narrative that has emerged over the years is the notion of the “Mercury Curse”. This refers to a perceived trend where some artists experience a decline in their commercial success after winning the award.
Though this isn't universally applicable, it has certainly added a layer of intrigue and debate around the Prize.
There have also been notable instances of snubs and omissions, where certain high-profile artists were surprisingly overlooked or never nominated.
These instances have sparked debates over the relevance and fairness of the Prize, with some questioning whether the Prize truly represents the best in UK and Irish music.
Lastly, the size of the cash prize, which as of 2024 stands at £25,000, has been a point of criticism.
Some believe this amount doesn't quite match the prestige and recognition of winning the Mercury Prize.
Despite these challenges, the Mercury Prize continues to hold a significant place in the music industry.
It's a platform that champions creative and innovative music, offering a crucial balance to more commercially focused awards.
These criticisms and controversies have also led to important conversations about the nature of music recognition and the ongoing evolution of the industry.
Conclusion
As we anticipate the announcement of the 2024 Mercury Prize with FREENOW ‘Albums of the Year', it's worth remembering the legacy and impact of this award.
The Mercury Prize is more than just a trophy and a title; it's a celebration of music that these islands produce, a tribute to artistic courage, and a testament to the transformative power of music.
And that, in itself, is worth celebrating.
