“Welcome to the first ever Universal Music Awards, wherever you’re watching in the world. My name is Colby Mayfield and I’m your host for the evening and we have a jam-packed evening of entertainment for you, with performances from some of the greatest artists in the world right now. The stars have come out to play tonight … of course they have, there’s accolades at stake. That’s always a sure-fire way to get all of these people in the same room for one evening, either that or tell them there’s a meet and greet with Christopher Hudson and as part of the package everybody gets a song. Seriously, that dude has been propping up the industry for I don’t even know how many years now, writing songs for the biggest names in pop music and most people would just casually walk by him in the street and not even take a second glance. He’s not the pop hero we wanted but he is the faceless pop hero that we all needed.

2023 was a mixed year, with periods of quiet scattered throughout the year. But it wasn’t all silence and disinterest, Head South Records came roaring into the music industry giving it a much needed shot in the arm with a number of successful releases under the indie-label from the UK which quickly became one of the main players in the industry.
Throughout last year we also saw Jadyn Ghalen step out of the shadow of ‘Orion’ and debut his first ever solo releases with a bunch of huge singles and a debut E.P marking a successful year for the hip-hop artist. We’re pleased to see Jadyn here tonight and he’s joined by a couple of his side-pieces. Nice to see that he’s brought you to the show, Brayton and Jamal … I jest of course, ‘Orion’ recently made their comeback with “All Accelerator, No Brakes” and will be closing out the show this evening for you, I’m sure it’ll be a spectacular finale.

We have a bunch of great performances lined up for you tonight, Cerys Nyland will be performing with some special guests very soon and I must say, her rise in the industry has been remarkable. She’s quickly gone from an unknown name to being one of the most talked about names in the music industry right now. We also have a performance from Malik Jarvez coming up, I know, I know there’s a lot of women in the building tonight but as is our UMA hospitality you will find a goody bag of items at each table which will include a plastic seat cover for each seat in the room because … well, let’s face it, we’ve all heard his latest song and my god we’ve all seen his pretty face. If I had the internal plumbing that you girls had, I’d certainly find it very difficult to control it too.

So, we have a great evening ahead of us with performances to come and awards to be handed out. We have waiters floating around the room to keep your glasses half-full and your heads half-empty and there’s also an open bar should you require something a little more specific. I’m going to head backstage for the next couple of minutes and give you guys a chance to have your photo’s taken with our lord and saviour Mercedes and will be back out here in just a few moments to announce the very first award of the evening.”

Favourite Touring Artist

Admittedly this next award is without intrigue and anticipation, but it’s part of my job to stretch out these segments in order to encourage the artists in attendance tonight to drink as much alcohol as human possible. Historically best live show or best touring artist was an award that demanded a lot of attention and hype, but it appears the industry has gotten somewhat lazy over the years and touring is no longer a priority to promote your work. With the introduction of Twitter, Instagram and TikTok it’s become clear that touring isn’t always necessary to promote your latest album around the world. However live performance is still an artform that deserves love.

There was only one nominee for this category, so technically we could have just mailed you the award and saved you a trip out to California. But ladies and gentlemen, the winner of Favourite Touring Artist is;

Collaboration of the Year

Okay, let’s face it. It’s not exactly been the most crazy start to the show so far, two awards in and we’ve had a tie and a non-contested award. I mean, you guys realize it’s the very first ever Universal Music Awards. I believe the intention was for this to be a regular show every year, but come on guys are you really trying to make this so uneventful that we just get cancelled after the first year? … I will say that 2024 has certainly started off with a lot more potential than the previous year, let’s hope that this keeps up throughout the year and I actually have a job next year. The next award is Collaboration of the Year and it’s hotly contested by … *looks at card. Turns card over in the hope it has more names on it* … *looks at the audience with a bemused look on his face* … two songs? TWO SONGS? … seriously guys? … you were that against working with other people last year that we only got two collaborations? … I don’t want to sound like a strict school teacher but … DO BETTER!

*clears his throat* … The nominees for Collaboration of the Year are;

Kara Romero – “Twenty-Four Seven” (feat. Drew Westbrook)

Aubrey Cassidy – “Peep Show” (feat. Jerry Holmes)

And the winner is;

E.P/Mixtape of the Year

We have another non-contested award with E.P/Mixtape of the Year. Traditionally this would have been a fiercely contested award, with artists using the shorter format as an opportunity to hype a new release or tide fans over the full length album was finished. It’s an artform in itself and one that I’m sure will be a lot more hotly contested in future ceremonies. But we will have to acknowledge that 2023 was certainly a less productive year, it feels like everybody was saving a lot of their plans for 2024 with brand new releases from the likes of Alicia Lena, Billy, Malik Jarvez and Orion and albums and releases already announced for the coming months.
But due to lack of competition within the category, the winner of E.P/Mixtape of the Year is;

Nominated for both New Artist of the Year and Album of the year, Sigrún stands backstage, focused on the performance she is about to deliver.



Despite the triumph of her debut opus, 'We Were Born in Our Homes and We Will Die Here,' she remains a mystery to the broader audience. Aware that more established artists are more likely to win the awards, the young Islandic artist stands undeterred, determined to not only assert her chances but also to unveil her musical universe to a wider audience and to the music industry at large.

While her inaugural single, 'Banished,' did well on the charts, Sigrún chose to grace the audience with a hidden gem from her album. Her song, 'Nornadans' is a gorgeous track holding a unique place within the album's narrative. The song revolves around the mythical Norns from Icelandic lore, weavers of human destinies. What sets this piece apart is its infusion of oriental vibes and Indian percussions, creating an otherworldly sonic landscape, very different from the other tracks of her debut album.

'Nornadans' is a captivating interplay of twinkling vibes and lush strings, presenting a surprising and head-spinningly eclectic arrangement. The composition carries a delightful sinuous string section, reminiscent of classic egyptian film scores. A hidden treasure within the album, it offers an unexpected fusion of icelandic legends and far-reaching cultures, like an Icelandic mantra... Through this song, Sigrún aims to surprise the audience, inviting them into a realm where Icelandic folklore seamlessly merges with the diverse musical traditions.

As the applause subsides, the Arena is plunged into the darkness, and the audience eagerly awaits the performance. Suddenly, a strange language, whispered in an almost shamanic tone, breaks the silence:

"Blása á nornirnar, biðja um blessun þeirra.
Blása á nornirnar, biðja um blessun þeirra."

The enigmatic words, a legendary Seidr spell spoken in Old Norse, resonate through the venue. These words can be translated to "Call upon the Norns, seek their blessing!" Then, Sigrún, still invisible, whispers the same words in a tender tone, invoking an otherworldly energy:

"Blása á nornirnar, biðja um blessun þeirra..."

A warm and appeasing light gradually bathes the stage, revealing Sigrún's slender figure and blonde hair. She stands barefoot on a large Icelandic patterned rug, surrounded by her ensemble of musicians. The audience is drawn into the mystique as the ambiance shifts from darkness to a warm, sensual glow.

The chill-out instrumentation of "Nornadans" begins, characterized by an unexpected fusion of Icelandic folklore and distant cultures. A drummer sets a cool and chilling rhythm, while two percussionists delicately wield tablas and Indian bells. Violins and a bass player add depth, and a keyboardist add different layer to the atmosphere of the song. The audience also notices the presence of a vibraphone.



Sigrún, with grace and poise, starts walking in sync with the rhythmic beat of the song. Her every step seems to synchronize with the subtile rhythm. The lyrics, an evocation of the legendary Norns weaving the fates of humans, unfold with her warm, intimate voice. Electronic elements and vibraphone gradually intertwine, enhancing the dreamlike quality of the song. Then she starts singing with a warm and pure voice.

"Nornir koma, rúna spinna
Nornir koma, rúna spinna"
(Norns arrive, weaving runes)



As discreet bass notes stealthily infiltrate the air, adding a touch of groove to the performance, Sigrún succumbs to the rhythm, initiating a languid dance, a subtle sway that casts a spell on the audience. The lyrics continue to flow:

"Nornir weaving, spells revealing
Gladly gleaming
Nornir weaving, spells revealing
Gladly gleaming"

Her voice, pure and intimate, delivers the narrative with powerful moments. The violins delicately punctuate the lyrical narrative, infusing smooth oriental vibes that transports listeners into a dreamlike realm. Thé vibraphone adds an extra layer of sweetness.

"Stretch, turn, weave the cord so thin,
Blindin' dim light,
No matter who you are
You're all caught in sin."




As the performance enters an instrumental bridge, Sigrún, with a graceful poise, descends to her knees on the expansive Icelandic patterned rug. Initiating a languid dance guided by the languorous caress of the violins, her arms gracefully carve through the air, and each movement seems inspired by the legendary Norns, weaving fates of humans.



"Showing the way,
Adjusting the trim, right
Fear not the twists,
The turns, The strife,
For in the end, It's woven right."


Then the young icelandic artist sings her final verse. With a languid walk, she retreats to the center stage, perpetually in step with the smooth rhythm.



Silent weavers of dreams,
Nothing's as it seems
Spin the tales of yesteryears
Shape the future with hopes and fears

The warm yellow spotlights envelop her, as she approaches the end of her performance. One last time, Sigrún unveils the full spectrum of her vocal prowess.

"Guiding lives
And giving lands,
Rekindling flames
Taking crowns"

Sigrún gracefully concludes the performance with a slow sensual dance. A shy smile, like a fleeting moonbeam, graces her face, revealing the genuine joy emanating from this intimate connection with the audience. In this shared moment, it's evident that Sigrún not only enjoys the harmonious exchange but also takes pride in delivering her song on this prestigious occasion.



Nornir weaving, spells revealing
Gladly gleaming
Nornir weaving, spells revealing
Gladly gleaming.

As she dances, repeating the last words, the song reaches its ending, concluding with the soft notes of Indian ghungroo bells.

With the poise of a sorceress, she whispers once more the mystical incantation that had inaugurated her enchanting performance.

"Nornir koma, rúna spinna...
Nornir koma, rúna spinna..."
(Norns arrive, weaving runes)

The warm lights that once bathed the stage in a tender glow begin to fade away, plunging the stage into darkness again, leaving the audience in awe. The appeasing atmosphere that enveloped the audience dissipates, dissolving into the air like the remnants of a vivid dream.

Then, the hall erupts into a beautifully resonant ovation. Sigrún, bathed in the applause, absorbs the moment with humility and grace. It's a recognition that transcends awards and nominations.

Now the ceremony can resume its course.

Female Artist of the Year

We move, and there’s only one way to follow Male Artist of the Year and that is indeed, Female Artist of the Year. It is clear that the music industry has been dominated by the ladies over the years, the likes of Suzie, Isabel and Nadia Berry have all dominated the industry as well as a whole host of other incredibly talented women. I don’t think it’s out of place to say that the ladies have definitely dominated the industry and they continue to do so even to this day. The majority of releases last year came from women and the list of nominees show just as much;

Kara Romero

Alicia Lena

Cerys Nyland

Sigrún

Layla

Camille

Aubrey Cassidy

Amy-Jayne

Definitely some incredible ladies to choose from, but the winner of Female Artist of the Year is;

Album of the Year

Creating an album is an artform of the very highest magnitude, it’s about driving forward with a passion and an artistic vision, one that requires care and time. It’s a body of work that truly separates artists and builds a platform to a legacy rather than temporary success. There are four very distinct albums in the category for Album of the Year that showcase the true range of the music industry. The nominees for Album of the Year are;

Kara Romero – “Post-Traumatic”

Voodoo Dolls – “Back Mutations”

Sigrún – “We were born in our homes and we’ll die here”

Cerys Nyland – “Shenanigans”

And we have another tie, the winners of Album of the Year are;

The lights fade in the entire venue as three spotlights shine on the stage, showing three silhouettes. The sounding of sirens go off over the sound system and various voiceovers start to sound out from speaker systems around the venue from different sections of the room, speaking out comments and statements regarding ‘Orion’. Taken from various podcasts and YouTuber statements about the trio’s rumoured falling out with each other and various negative statements about the group and how they will inevitably fade away. “This is a group that clearly cannot co-operate with one another.” says one podcaster, “For a group to rise so high so quickly, it’s inevitable that the fall will be just as far and just as rapid.” another states confidently, while a bunch of other statements start firing out at the same time to the point where it just all sounds like noise and negativity until one final judgement can be heard over the speakers that simply states, “Overhyped, oversold, over-achieved. That is my assessment when they blew up and that is my assessment right now” before the entire venue goes into complete silence and the curtain comes down on the centre of the stage, turning the silhouettes into the actual members of the group as the three of them come firing out onto the center of the stage with aggressive energy.

The three of them fire out the hook of their latest single “All Accelerator, No Brakes” in unison, “All accelerator, no brakes on this shit/We’re running on a different level out here these days/Feels like we’re training for this like it’s a motherfuckin’ prize fight/We don’t let this slip/Motherfucker we don’t let this slip, right?” and Jamal ‘Circuit’ Ghalen makes his way forward to the very edge of the stage, to deliver the fighting talk soliloquy of the opening verse of the song that many are labelling as their comeback single having taken a short amount of time on a break following the success of their debut album and debut E.P. A break that was fuelled with rumours of falling outs, disagreements and jealously amongst the trio, one in which they have always individual denied;



Following the opening verse delivered by Jamal ‘Circuit’ Ghalen, the trio join forces once more for the songs chorus, it’s a quick-fire delivery and a catchy chorus to get stuck in your head but is designed to be over quickly to enable them to move into the following verse and continue to flesh out the tone and themes of the song. For the second verse, it’s the turn of Brayton ‘Bellows’ Carter to be given the spotlight and see things from his own perspective as a member of the group that was reportedly the one that was primarily butting heads with his bandmate. The music continues to play out over the soundsystem, it’s fast-paced and aggressive which adds to the fiery nature of the track and it’s lyrics as Brayton delivers lines that directly acknowledge the press talk with phrases like ‘Call it a rivalry’ and ‘different lifestyles and different roles’ which directly hints at the changing attitudes in lifestyle between Brayton and Jadyn, with Brayton finding romance and stepping away from the wilder party lifestyle that Jadyn has embraced since breaking into the industry.
Brayton delivers the vocals with a strong sense of authority, almost as if he’s talking directly to those that seemed obsessed with writing these various press pieces on the group battling behind the scenes. The trio move around the stage freely, with Jadyn and Jamal often leaning over the edge of the stage to get close to those in the audience while Brayton remains centre stage throughout his verse.



As Brayton finishes delivering his verse, he drops to his knees and Jamal makes his way to the centre stage and drops to his knees while Jadyn turns to the two of them and raises his arms out in a god-like stance. It’s a metaphorical image with the trio using the image of Jadyn standing over the other two members in a god-like stance to mimic the general tone of the various reports written about them over the past year where the general tone of the hit-pieces was that Jadyn had ambitions beyond ‘Orion’ and was more interested in building his own name and legacy beyond just the group. It appears that this moment is used as a way of mocking the inaccuracies of the various reports.
The music stops completely and the stage turns to darkness, sparks fly from the stage and a loud crash is heard as the lights come back on and Brayton and Jamal jump back to their feet and march towards the edge of the stage side by side with Jadyn in the center. Jadyn is walking towards the edge of the stage with a purpose as the music kicks in at a furious pace and Jadyn fires out his verse with intense passion and a definite undertone of anger and rage in his vocal delivery. Taking the opportunity to really nail home the idea that the people talking about the group in press articles couldn’t have been anymore wrong as the trio perform their first single from their next album and show a form of solidarity by delivering such an emphatic statement in front of a watching worldwide audience;

STAGE FADES TO BLACK. FIN.