Peer-judged by songwriters and composers, The Ivors are the most prestigious celebration of the craft, cultural impact and enduring importance of songs and screen compositions. At a time when questions around authorship and AI are reshaping the music landscape, The Ivors stand as a powerful affirmation of human creativity and the cultural value of songwriters.

Recognised as the pinnacle of creative musical achievement since they were first presented in 1956, winning an Ivor Novello is the highest global recognition for songwriting and composing. Winners join a roll call of greats that includes Paul McCartney, John Lennon, George Harrison and Ringo Starr, David Bowie, Adele, RAYE, Stormzy, Bill Withers, Bruce Springsteen, Brian Wilson, Annie Lennox, Amy Winehouse, Dave, Sting, Mick Jagger and Keith Richards, Charli xcx, Lana Del Rey, Lola Young, Lou Reed and Elton John.

Each winner receives an iconic Ivor Novello Award, a solid bronze statuette depicting Euterpe, the Greek muse of music and lyric poetry. The design was created in 1955 by sculptor Hazel Underwood and has remained unchanged ever since.

Tom Gray, Chair of The Ivors Academy, said: “Congratulations to all the songwriters and composers nominated for this year’s Ivor Novello Awards. To be recognised by your peers for exceptional craft and originality at The Ivors is one of the greatest honours in music writing, and we look forward to celebrating their achievements at The Ivors with Amazon Music on 21 May.”

Roberto Neri, Chief Executive of The Ivors Academy, said: “I want to congratulate these incredible nominees, whose work reflects the strength, diversity and global influence of British and Irish songwriting, which we are honoured to celebrate. An Ivor Novello Award has for over 70 years been the most prestigious recognition of excellence in music and I’d like to thank our judges for working hard to recognise this year’s nominees.”

Listen to The Ivors 2026 playlist on Amazon Music.

This year, 61 individual British, Irish or UK resident songwriters and composers, and their international collaborators, have received Ivor Novello nominations, with 34 of those picking up a nomination for the first time.

Wolf Alice’s Ellie Rowsell, Olivia Dean, Jacob Alon, Self Esteem and co-writer Johan Hugo, and Kae Tempest and co-writer Fraser T Smith have all received two nominations, with Olivia, Jacob and Johan nominated for the first time by The Ivors Academy.

Little Simz picks up her fifth Ivor Novello nomination, for “Free” in Best Contemporary Song, the second time she has been nominated in this category. She has previously won Best Album in 2020 for Grey Area and Best Contemporary Song in 2022 for “I Love You, I Hate You.” She also received two nominations in the Best Album category in 2022 and 2023.

Lola Young will receive her fourth nomination, with a second for her huge hit “Messy” in the PRS for Music Most Performed Work category. Damon Albarn will receive his fifth nomination with a nod in the Best Contemporary Song category for “Damascus”, having previously won Songwriter of the Year twice and received the Ivor Novello Lifetime Achievement Award in 2016.

Lily Allen receives her third nomination with West End Girl, her first album in seven years, nominated in the Best Album category. Florence Welch receives her fourth nomination at The Ivors, this year in the Best Song Musically and Lyrically category for “Everybody Scream” alongside co-writers Mitski and Mark Bowen.

Coldplay’s huge hit “Vida La Vida” picks up its third nomination this year in the PRS for Music Most Performed Work, off the back of their epic global tour. The song won Best Selling British Single in 2010 and was also nominated for PRS for Music Most Performed Work.

CMAT and Myles Smith both pick up their second Ivor Novello Award nominations, CMAT for her critically acclaimed album EURO-COUNTRY, her second Best Album nomination, and Myles Smith for his worldwide hit, “Stargazing”, alongside co-writers Peter Fenn and Jesse Fink.

The Ivor Novello Award for Best Album celebrates exceptional songwriting craft, creativity and cohesion across the record as a whole. This year’s nominees see a range of spheres of contemporary music represented, including Jim Legxacy’s bold and genre-traversing black british music (2025), Olivia Dean’s divine sophomore The Art Of Loving, Wolf Alice’s sublime fourth album The Clearing, Lily Allen’s punchy and forthright West End Girl, and Irish-star CMAT’s excellent EURO-COUNTRY.

Celebrating innovation and outstanding originality in songwriting, Best Contemporary Song sees nominations for Damon Albarn – “Damascus” (featuring Omar Souleyman and Yasiin Bey), Little Simz – “Free”, Self Esteem – “I Do And I Don’t Care”, and a double nomination for Kae Tempest with both ‘Know Yourself’ and “I Stand On The Line”.

Best Song Musically and Lyrically acknowledges the outstanding craft, quality, coherence and creativity of the songwriting. Nominations this year go to Jacob Alon – “Don’t Fall Asleep”, Florence + The Machine – “Everybody Scream”, Self Esteem – “Focus Is Power”, Wolf Alice – “The Sofa” and Sugababes – “Weeds”.

The PRS for Music Most Performed Work category celebrates songs that received the most broadcast, online and general performances in the last year, based on PRS data. Nominations this year go to Olivia Dean – “Man I Need”, Lola Young – “Messy”, Myles Smith – “Stargazing”, Chrystal – “The Days” and Coldplay – “Viva La Vida”.

The Rising Star Award with Amazon Music celebrates British, Irish or UK resident songwriters who are at the tipping point of greatness. This prestigious co-sign this year goes to Chloe Qisha, Divorce, Jacob Alon, kwn, and Skye Newman. Past Rising Star nominees include PinkPantheress, Holly Humberstone and Rachel Chinouriri, with Lola Young winning the award in 2025.

Best Original Film Score recognises outstanding commissioned music that strengthens the storytelling, tone and emotional depth of a feature film. Together, these works amplify the essential role of original composition in elevating the art of film. This year’s nominees consist of Bugonia, composed by Jerskin Fendrix; Dragonfly, composed by Raffertie; Nosferatu, composed by Robin Carolan; Testimony, composed by Tom Hodge; and The Brutalist, composed by Daniel Blumberg.

Best Television Soundtrack celebrates exceptional originally commissioned music that enriches the storytelling and dramatic impact of television programmes in the UK in 2025.  This year’s nominees are Adolescence, composed by Aaron May and David Ridley; Lazarus, composed by Sarah Warne; Summerwater, composed by Gazelle Twin; The City Is Ours, composed by Rael Jones; and Trespasses, composed by David Holmes and Brian Irvine. These works highlight the contribution and impact of original music in enhancing storytelling and television viewing.

The award winners will be revealed at The Ivors with Amazon Music on 21 May 2026 at Grosvenor House, London. Alongside these nominations, awards in the Gift of the Academy will be presented to recognise individuals for their lasting contributions to music.

The Ivors 2026 nominations

BEST ALBUM

BLACK BRITISH MUSIC (2025) written by Jim Legxacy and Joe Stanley
Performed by Jim Legxacy
Published in the UK by Sony Music Publishing and Kobalt Music Publishing

EURO COUNTRY written and performed by CMAT
Published in the UK by BMG Rights Management UK

THE ART OF LOVING written by Olivia Dean, Bastian Langebaek and Max Wolfgang
Performed by Olivia Dean
Published in the UK by Sony Music Publishing, Universal Music Publishing obo Goldfish Records and Kobalt Music Publishing obo Alveron Music

THE CLEARING written by Joff Oddie and Ellie Rowsell
Performed by Wolf Alice
Published in the UK by Sony Music Publishing

WEST END GIRL written by Lily Allen, Chloe Angelides, Kito and Blue May
Performed by Lily Allen
Published in the UK by Sony Music Publishing, Kobalt Music Publishing obo Chloe Angelides Publishing-Where Da Kasz At and BMG Rights Management UK 

BEST CONTEMPORARY SONG

DAMASCUS written by Damon Albarn, Yasiin Bey and Omar Souleyman
Performed by Gorillaz feat. Omar Souleyman and Yasiin Bey
Published in the UK by Sony Music Publishing, Pop-Up Music Publishing and Domino Publishing Company

FREE written by Alex Bonfanti, Miles Clinton James and Little Simz
Performed by Little Simz
Published in the UK by Universal Music Publishing and Sony Music Publishing

I DO AND I DON’T CARE written by Johan Hugo and Self Esteem
Performed by Self Esteem
Music published in the UK by Warner Chappell Music and Reservoir Media Management obo Blue Raincoat Music Publishing

I STAND ON THE LINE written by Fraser T Smith and Kae Tempest
Performed by Kae Tempest
Music published in the UK by Warner Chappell Music and Domino Publishing Company

KNOW YOURSELF Written by Tom Rowlands, Fraser T Smith and Kae Tempest
Performed by Kae Tempest
Music published in the UK by BMG Rights Management UK, Warner Chappell Music and Domino Publishing Company

BEST SONG MUSICALLY AND LYRICALLY

DON’T FALL ASLEEP written and performed by Jacob Alon
Music published in the UK by Concord Music Publishing

EVERYBODY SCREAM written by Mark Bowen, Mitski and Florence Welch
Performed by Florence + The Machine
Music published in the UK by Kobalt Music Publishing, Warner Chappell Music obo Songs by Mitski Publishing and Universal Music Publishing obo Florence + The Machine Ltd

FOCUS IS POWER
Written by Johan Hugo, Self Esteem and Jacob Vetter
Performed by Self Esteem
Music published in the UK by Warner Chappell Music, Reservoir Media Management obo Blue Raincoat Music Publishing and Kobalt Music Publishing obo TruSauce Pub Co

THE SOFA written by Ellie Rowsell
Performed by Wolf Alice
Music published in the UK by Sony Music Publishing

WEEDS written by Tove Burman, Anya Jones and Jon Shave
Performed by Sugababes
Music published in the UK by Warner Chappell Music obo MXM Music and Kobalt Music Publishing obo Spirit Music Group

PRS FOR MUSIC MOST PERFORMED WORK

MAN I NEED written by Olivia Dean, Tobias Jesso Jr. and Zach Nahome
Performed by Olivia Dean
Music published in the UK by Sony Music Publishing, Universal Music Publishing and Concord Music Publishing

MESSY written and performed by Lola Young
Music published in the UK by Sony Music Publishing

STARGAZING written by Peter Fenn, Jesse Fink and Myles Smith
Performed by Myles Smith
Music published in the UK by Kobalt Music Publishing obo Songs by 308 Publishing-Where Da Kasz At, Lyric Global Copyright Services Crescendo obo Arcade Artists Publishing-Jesse Fink Publishing-Spirit One Music Crescendo and Sony Music Publishing

THE DAYS written and performed by Chrystal
Music published in the UK by Sony Music Publishing

VIVA LA VIDA written by Guy Berryman, Jonny Buckland, Will Champion and Chris Martin
Performed by Coldplay
Music published in the UK by Universal Music Publishing

RISING STAR AWARD WITH AMAZON MUSIC

Chloe Qisha
Divorce (Tiger Cohen-Towell, Felix Mackenzie-Barrow, Adam Peter-Smith and Kasper Sandstrøm)
Jacob Alon
kwn
Skye Newman

BEST ORIGINAL FILM SCORE

BUGONIA composed by Jerskin Fendrix
Music published in the UK by Universal/MCA Music Ltd obo Focus-Gramercy Music 

DRAGONFLY composed by Raffertie
Music published in the UK by Universal Music Publishing

NOSFERATU composed by Robin Carolan
Music published in the UK by Universal/MCA Music Ltd obo Focus-Gramercy Music

TESTIMONY composed by Tom Hodge
Music published in the UK by Bucks Music Group obo Rocliffe Ltd

THE BRUTALIST composed by Daniel Blumberg
Music published in the UK by Warner Chappell Music

BEST TELEVISION SOUNDTRACK

ADOLESCENCE composed by Aaron May and David Ridley
Music published in the UK by BMG Rights Management UK obo Maisie Anthems

LAZARUS composed by Sarah Warne
Music published in the UK by Universal/MCA Music Ltd obo Amazon Content Services

SUMMERWATER composed by Gazelle Twin
Music published in the UK by Sony Music Publishing and District 6 Music Publishing Ltd

THIS CITY IS OURS composed by Rael Jones
Music published in the UK by Sony Music Publishing obo Twenty Fifteen Avenue Music Inc

TRESPASSES composed by David Holmes and Brian Irvine
Music published in the UK by Sony Music Publishing obo All3media International

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This avoids a damaging change that would have allowed AI companies to use the works of songwriters and composers without their permission.

But the work is far from done. The UK government must now deliver a framework where AI companies license creative works with authorisation from creators, pay fair remuneration and provide transparency to creators and listeners alike. It must also introduce new personality rights to protect songwriters and composers from AI-generated replicas of their voices and identities.

Roberto Neri, CEO of The Ivors Academy, said: “We welcome the UK government’s decision to not move forwards with a new text and data mining exception and listen to the 88% the respondents to its consultation who called for stronger copyright and licensing.

Avoiding the worst outcome is the first step. The government’s renewed focus on creator control and transparency, digital replicas, and the labelling of AI-generated content puts songwriters and composers where they should be – at the heart of this debate. We’re committed to working with the government to ensure that AI companies license music, pay creators fairly with the authorisation and transparency they are due, and introduce new personality rights to protect songwriters and composer from deepfakes and digital replicas.”

This announcement follows serious concerns raised across the creative industries during the government’s consultation on AI and copyright. Songwriters, composers and other creators made clear that copyright must be protected and that licensing should remain the foundation for how creative works are used by AI systems.

We will now take part in the four government work programmes examining digital replicas, labelling, creator control and transparency, and independent creatives. These discussions will play an important role in shaping how generative AI interacts with music and other creative works.

We will continue to campaign for a clear framework for generative AI that requires licensing with authorisation, remuneration and transparency for songwriters and composers. Ensuring creators are properly recognised, protected and paid must remain central to the development of AI technologies.

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The Ivors Academy has announced multi-platinum songwriter and producer Jon Shave as the first speaker confirmed for The Ivors Academy Summit 2026, held during Ivors Week on Tuesday 19 May at the BFI IMAX in London.

His songs have been recorded by artists including Charli xcx, Miley Cyrus, Girls Aloud, Jessie J, Britney Spears, Sugababes, Sophie Ellis-Bextor and Zara Larsson. Jon’s work also includes collaborations with Charli xcx and Finn Keane on brat, as well as composing for major advertising campaigns, including Belvedere’s campaign featuring Daniel Craig.

At the Summit, Jon will share insights from his career in songwriting and production with Sophie Ellis-Bextor, drawing on his work that spans global pop hits, major artist collaborations and high-profile creative projects.

Roberto Neri, CEO of The Ivors Academy, said: “As one of the world’s most in-demand songwriters and producers, it’s a privilege to announce Jon Shave as our first speaker. His success and credibility are exceptional, and I’m delighted he’s joining Sophie Ellis-Bextor for our second annual Summit during Ivors Week. It’s one of the most important moments of the year to empower songwriters with knowledge and connections, and bring them together with the global music industry.”

In association with ICE Services and PRS for Music, the Summit will bring together songwriters and global music industry leaders to explore the future of music-making, creative rights, technology and the business of songwriting. Through inspiring panels, conversations and practical sessions, the event will empower songwriters at every stage of their careers with knowledge and confidence.

The first round of Summit sessions has now been announced, with more details to come. The programme will explore how to build and sustain a career in songwriting, from protecting credits and understanding international income to navigating deals, data and royalties. Sessions will explore the reality of songwriting, including the value of music on social media, the impact of AI, writing camp culture and the challenges of balancing creative work with life and a family.

A conversation with President and CEO of the National Music Publishers’ Association (NMPA), David Israelite, has been announced, alongside sessions with PRS for Music and ICE Services, with more speakers to be revealed soon.

The Summit is held during Ivors Week, just before The Ivors with Amazon Music on 21 May, to bring the global music community together in London to exchange ideas, share experience and champion the value of songwriters and composers.

Explore the programme and book your ticket.

Book tickets.

Songwriters and composers, become a member and save up to £70 on your ticket.

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The Ivors Academy in partnership with YouTube Music has launched its third annual Songwriting Camp, hosted at Qube Canary Wharf in London this June.

Spanning two days of music making, this unique event offers members of The Ivors Academy an unparalleled environment to write, produce, and network with fellow songwriters, producers and artists, while collaborating with some of the industry’s most accomplished talents who will also be on hand. Previous participants include hit songwriters, artists and producers like Jin Jin, Mr. Hudson, Carla Marie Williams, JP Cooper, and more.

Taking place on 3 and 4 June, the camp will be held at Qube Studio, Canary Warf, a world-class studio space offering recording, DJ and podcast, alongside communal workspaces in London. Participants will also get the opportunity to connect with music professionals from YouTube Music, The Ivors Academy and specially invited music executives from across the industry.

Of note, per diems, local transport costs and catering are included. To be eligible, applicants must be a Core or Professional member of The Ivors Academy with the right to work in the UK. They must have at least five years’ experience in songwriting or production, and be a member of a recognised collecting society, or equivalent professional standing through released work. Applications close on Friday 20 March at 17:00 GMT. Apply now.

A limited number of spots are available for members of The Ivors Academy. Attendees will be shortlisted and selected by members of The Ivors Academy’s Songwriting Council.

The camp forms part of a continued partnership between The Ivors Academy and YouTube Music to nurture UK songwriting talent while supporting the larger songwriting community.  With a focus on education and collaboration, the camp aims to equip attending members with the tools to develop their craft, while getting hands-on songwriting experience, in sessions with some of the biggest hitmakers.

On his experience at the camp last year, Grammy award winning producer, songwriter and solo-artist Mr Hudson shares: “It was such a pleasure to be involved in the writing camp with The Ivors Academy and YouTube. World class writing rooms and most importantly, great new talent made for a really productive few days, shares. Also having one of my favourite collaborators, JP Cooper on deck, was a big bonus.” 

Multi-platinum selling Island Records recording artist and recent camp attendee JP Cooper shared: “I had an amazing couple of days at The Ivors Academy and YouTube writing camp. I wish I would have been invited to something like this when I was starting out. It’s great to drop the curtain and show people that nobody has all the answers, it’s just a case of showing up and getting involved. We showed up, we got involved and we made some great music.”

All participating songwriters will receive a per diem to cover expenses incurred during the camp, enabling full focus on their creative process without worry of financial burden. This initiative is part of The Ivors Academy’s ongoing commitment to supporting songwriters and advocating for fair compensation across the industry.

Roberto Neri, CEO of The Ivors Academy said: “We’re pleased to partner with YouTube Music for another year to give songwriters a dedicated space at Qube to connect and create. After The Ivors Academy secured a commitment from the UK major label groups to provide unrecoupable per diems for songwriters at their camps last year, every writer taking part at this camp will again receive one. It’s one step to ensure that songwriters are valued properly.”

Jenna Rubenstein, Head of Songwriter Relations for YouTube also commented: “YouTube Music and The Ivors Academy share a deep commitment to championing songwriters at every stage of their creative journey. As we launch this powerful songwriting camp for its third year, we are incredibly proud of the space we’ve built for education, collaboration, and most importantly, music-making. Elevating the vital craft of songwriting is at the heart of what we do at YouTube, and we are thrilled to continue our partnership with The Ivors Academy to further that mission.”

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This week, the European Parliament backed calls for greater transparency around AI training data and fair payment where copyrighted works are used. The situation is urgent – generative AI music already accounts for around 40% of tracks uploaded to streaming services, according to Deezer.

Roberto Neri, CEO of The Ivors Academy, said: “Innovation cannot come at the expense of the rule of law. If AI companies can train on copyrighted music without permission, music writers lose control of their work and their ability to earn from it. The solution is straightforward, licensing with consent from creators. Songwriters and composers must authorise how their work is used, share in the value it generates and have transparency over what is being used.”

Across Europe, policymakers are moving towards stronger protections.

Catherine Martin, Head of Policy for The Ivors Academy in Ireland and former Irish Culture and Arts Minister, said: “Momentum is building across the EU for transparency, licensing and fair payment where creative works are used to train AI systems. These are not barriers to innovation, they are the foundations of a functioning creative economy.”

Licensing with consent means upholding three principles:

1. Authorisation, creators must decide if and how their work is used to train AI systems.
2. Remuneration, if creators’ work generates value they must share in that value.
3. Transparency, AI companies must disclose the music they use and label AI generated outputs.

Songwriters and composers have always embraced innovation. But using creators’ work without permission is not innovation, it is theft at an unprecedented scale. Europe is beginning to recognise this and the UK should do the same.

With government decisions on AI and copyright fast approaching, The Ivors Academy has been in Parliament making the case for songwriters and composers at a critical moment for music and its creators.

The Academy has been bringing music writers directly into conversations with MPs and peers. At a recent event in the House of Lords, Roberto Neri spoke alongside Ivor Novello Award-winning songwriter and Board Director Tinie Tempah about the threats generative AI poses to music and human creativity.

Without strong protections, income and value risk being diverted away from the songwriters and composers whose work powers the music economy.

Reports suggest ministers are considering a proposal backed by major AI companies that would introduce a “commercial research exception”. This could allow AI companies to use copyrighted works without permission to train their systems, negotiating licences only later if the technology is commercialised.

Many in the creative industries warn this approach would weaken the UK’s copyright framework and leave creators negotiating from a weaker position once their work has already been absorbed into AI models.

A recent report from the House of Lords Communications and Digital Committee warned that the creative industries face a “clear and present danger” from generative AI and called for new copyright exceptions for AI developers to be ruled out.

Working with partners including the Music Publishers Association and organisations across the Council of Music Makers, The Ivors Academy continues to call for the UK to uphold three essential principles in the AI era: authorisation, remuneration and transparency.

The message from music creators is clear. Copyright must be strengthened, not weakened, and songwriters and composers must be put first in the AI era.

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The Ivors Academy has announced the launch of The Ivors Academy in Ireland, its first formal presence outside the UK in more than eight decades of championing songwriters and composers. This milestone creates a new, dedicated home for music writers across the whole island of Ireland, supporting all genres, disciplines and career stages.

The Ivors Academy has celebrated Irish creative excellence for more than seventy years through the Ivor Novello Awards, recognising outstanding songwriting and composition. Irish winners and nominees include U2, Hozier, CMAT, Orla Gartland, Fontaines DC, Lankum, Jazzy, Shane MacGowan and more.

The launch of The Ivors Academy in Ireland is a natural next step, moving from longstanding recognition into deeper, sustained support on the issues that shape writers’ rights, livelihoods and careers.

U2’s The Edge, Fellow of The Ivors Academy, said: “In a fast-moving, tech-focused world, it is more important than ever to celebrate and protect human creativity. The Ivors Academy has long demonstrated its commitment and support for music writers at every stage of their careers. The announcement of The Ivors Academy in Ireland, in partnership with IMRO, is welcome news for the music community, coming with its significant experience, energy and focus on the many important issues facing songwriters and composers today and into the future.”

Orla Gartland, Ivor Novello Award winning singer-songwriter, said: “Ireland has always and continues to punch well above its weight in its output of incredible songs, so I’m delighted to see The Ivors Academy launch their presence there to advocate for Irish songwriters. This feels important both on an individual and nationwide scale; as a country known globally for its music and art, we need to make sure that those who contribute to that culture are protected and paid.”

Catherine Martin, former Minister for Tourism, Culture, Arts, Gaeltacht, Sport and Media, will lead on policy in Ireland and report into Roberto Neri, CEO of The Ivors Academy. The Ivors Academy in Ireland will strengthen the Academy’s advocacy, ensuring greater protection, representation and influence for Irish songwriters and composers.

Catherine served in the Irish government as Minister of Arts and Culture from 2020 to 2025, during which time she led and delivered significant reforms to how the arts were supported and funded. She introduced the groundbreaking Basic Income for the Arts pilot scheme and secured and delivered funding to many other innovative initiatives that placed creators’ wellbeing, pay and sustainability at the centre of cultural policy. Her proven positive track record with the arts sector and experience in government brings valuable expertise to her policy role with The Ivors Academy in Ireland.

With a formal presence in Ireland, The Ivors Academy will enhance engagement at EU level on major topics including AI, copyright, fair terms and remuneration for songwriters and composers. Members in Ireland will have new opportunities to contribute to campaigns and take part in industry conversations through the Academy’s member-led structures.

Roberto Neri, CEO of The Ivors Academy, said: “Launching The Ivors Academy in Ireland is an important step to put songwriters and composers first. This is a great step forwards to protect, empower and celebrate music writers globally. I’m delighted to appoint Catherine Martin to lead our policy work in Ireland to create a new, dedicated home for music writers focused on fair pay, creative freedom and long-term sustainability.”

Catherine Martin, Head of Policy, Ireland for The Ivors Academy, said: “I am delighted to take up this new position with The Ivors Academy. I look forward to advocating for our songwriters and composers whilst also supporting and championing them throughout their careers.”

Iain Archer, Chair of The Ivors Academy’s All-Ireland Council said: “This is such a positive step in representing the interests of songwriters and composers across Ireland. Ensuring the survival of music creators grows more pressing by the day, and I am delighted to see Catherine Martin join us in this exciting new chapter for The Ivors Academy.” 

Eleanor McEvoy, Chair of IMRO, said: “Songwriters and composers across Ireland have long contributed immeasurably to the global music landscape. The establishment of The Ivors Academy in Ireland marks a powerful step forward in strengthening their voice, their rights, and their creative future. IMRO welcomes this initiative, which will deepen advocacy and expand opportunities for creators at every stage of their careers.”

Songwriters and composers aged 18 and over can join for free as a Discovery member.

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From her early studies at the Royal College of Music to her pioneering role with the Art of Noise, Anne’s career has been defined by technical brilliance, inventive spirit and an enduring musical curiosity. With Art of Noise, she helped forge the language of electronic music, blending cutting-edge technology with creative experimentation, while her arrangements and collaborations with artists such as ABC, Seal, Jeff Beck, Will Young and the Pet Shop Boys have enriched British pop with sophistication and flair. Her orchestral work, from the Last Night of the Proms to scores for film and television, demonstrates a composer equally at home in the concert hall, as the studio.

Anne’s scores for film and television including The Full Monty, The Crying Game, Poldark, Elle and Jeeves and Wooster showcase a storyteller’s sensitivity, musical invention and emotional insight. Her achievements have been recognised with an Academy Award, a Grammy, Brit Awards, BAFTA and an Ivor Novello Award for Outstanding Contribution to British Music, reflecting both popular acclaim and critical respect.

Beyond her many awards, Anne’s work has influenced generations of composers, arrangers and producers. Her artistry, versatility and generosity have defined excellence in composition, creating music that resonates across genres and decades. We are proud to welcome Anne Dudley as a Fellow of The Ivors Academy.

Watch Anne Dudley’s acceptance speech from The Ivors Classical Awards.

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Sheridan Tongue is a BAFTA-nominated composer known for soundtracks including Silent Witness and Wonders of the Universe. A key figure of The Ivors Academy Media Council, Sheridan has spearheaded the End Ghostwriting campaign. We caught up with him to discuss his work on the Council and the importance of the campaign for the composing community.

When you first launched End Ghostwriting, what kind of reaction were you expecting, and how has the response compared?

I’ll admit that the night before the campaign launched, I was a little nervous. I’d been working on this for about six months with 11 other composers and one UK composer agent, so I knew the campaign was solid and carefully thought through…but there’s always that moment of uncertainty before something goes public. The launch completely exceeded my expectations.

I wasn’t prepared for the sheer volume of support or the overwhelmingly positive engagement from the composer community. It’s been incredible to see so many composers not only resonating with the issue but actively wanting to be part of ending it. The passion, honesty and solidarity that’s come out of this has been truly inspiring.

Why do you think End Ghostwriting struck such a chord with composers?

This issue has been bubbling under the surface for many years, yet no one has really done anything about it. Ghostwriting negatively affects composers at every stage of their careers—not just those doing the ghostwriting.

Composers working at the top end of film, television, and games are also losing out on opportunities that are being absorbed by lead composers who rely on ghostwriters. So, not only are these lead composers taking sustainable work away from additional writers, but they’re also reducing the number of genuine commissions available to others. I have spoken to a number of composers who work at the highest end of television who feel they are being negatively impacted by this. The issue is further compounded by the fact that there are simply fewer commissions available.

I’m not against lead composers collaborating with teams of writers…as long as those additional composers receive proper recognition for their work. That’s what this movement is really about: fairness, transparency, and respect for creative contribution.

Are production companies generally open to bringing an additional composer onto a project once the lead composer has already been commissioned?

While it isn’t our job to educate production companies, I do think it’s important they understand the implications of refusing additional support. When a production isn’t open to bringing on another composer as an Additional Writer, they increase the likelihood that a ghostwriter will be used…knowingly or not. And at that point, they become complicit in a practice that is fundamentally exploitative.

When a composer is commissioned for a new project, the musical direction is often not known or still evolving. At that early stage, it can be difficult for the lead composer to know whether they’ll need additional support — or even who the right person would be to bring on.

I can’t imagine that, in 2025, any production company, broadcaster, or streamer wants to be associated with exploiting members of their creative team. What’s needed is a willingness to allow lead composers to bring in additional writers when the workload demands it.

It is also in production’s best interest to contract all writing parties so that they are not at risk of litigation through uncleared music use.

Only recently, I heard of a production company that rejected the lead composer’s request to bring on another writer, even after deadlines shifted and it became clear the composer couldn’t meet the schedule alone. In that situation, collaborating with an additional writer wasn’t optional—it was the only ethical way forward.

My hope is that we see far more openness from production companies in the future when it comes to supporting composers with the resources they need.

What impact have you seen so far, and what has surprised you?

I’ve heard some truly heartening stories of great collaborations, and I’ve also heard from ghostwriters who are struggling to pay their bills while working on high-end television shows. That contrast has been one of the most striking things.

One composer told me that when they work as an additional writer for a lead composer, the lead composer splits the commissioning fee 50/50. They each take on half the composing, and every cue on the music cue sheet is also shared 50/50. Hearing examples like that is incredibly encouraging…it shows what fair, transparent collaboration can look like.

One of the hardest things that I hear quite frequently is that even though ghostwriters know the situation is wrong, many still feel that the lead composer is somehow “doing them a favour” by giving them the work. No — you are being exploited! There is a fairer, more transparent way for lead composers to collaborate, and that’s by bringing someone on as an Additional Composer, where you receive proper cue sheet credit and an on-screen or IMDb credit.

What would you say to composers if they get asked to become a ghostwriter on a production?

Funnily enough, someone asked me this exact question at a recent AWFC (Alliance for Women Film Composers) event in London, and at the time I didn’t have an answer. My answer now would be: tread carefully.

I genuinely believe it’s unsustainable to build a long-term career as a composer by ghostwriting for others. In my view, a media composer’s career rests on three pillars: commissioning fees, credits and royalties. As a ghostwriter, you lose two of those three … credits and royalties.

Credits are what allow us to gradually move up the ladder, taking on better and more visible projects. Royalties help smooth out the peaks and troughs of freelance income, and they give us the freedom to occasionally choose a passion project rather than only taking work for financial reasons.

What’s heartbreaking is hearing from ghostwriters whose work has contributed to productions that go on to be nominated for major UK awards, yet they can’t publicly acknowledge their involvement or use that success to secure new opportunities. And while the lead composer may receive royalties for 20 years on a successful series, the ghostwriter receives nothing … despite having meaningfully contributed to the score.

The campaign was developed by media composers with The Ivors Academy. Can you tell us how that collaboration worked in practice?

I knew from the start that if we were going to shift the dial on this issue, we needed the weight and credibility of The Ivors Academy behind the campaign. In early 2025, I shared my initial thoughts on how we might end ghostwriting in film, TV and games with Dru Masters, the Chair of the Media Council, over a cup of tea at Coal Drops Yard in King’s Cross. To Dru’s credit, he immediately embraced the idea and suggested we also develop a “Best Working Practice” document to ensure the campaign was not only corrective, but forward-facing.

I then invited 11 TV composers and one composer agent…composers I knew felt passionately about ending ghostwriting…to form a working group. Over the course of about six months, we examined every aspect of the issue: what is Ghostwriting, why ghostwriting emerges, how to prevent it, and how productions can properly bring additional composers on board. Whenever a topic needed deeper exploration, we scheduled a Zoom call and worked through it together.

As these discussions progressed, the path forward became increasingly clear to all of us. Eventually, we distilled our work into a three-page document and presented it to The Ivors Media Council for approval. That document became the foundation of the End Ghostwriting campaign.

What does being part of the Media Council mean to you personally, and how does it differ from simply being a member?

Being on the Media Council allows me to stay closely connected to the issues that impact composers’ lives…both the challenges and the positive developments. The Council’s voice is an important one within The Ivors Academy, as we represent all composers working across film, television and games.

Everyone on the Media Council is deeply passionate about music and about supporting composers at every stage of their careers. We’re equally focused on improving the broader working environment for media composers. It’s incredibly engaging and genuinely satisfying to be part of that group; I always leave our meetings feeling energised, informed and inspired to continue pushing for positive change.

And what’s next for the End Ghostwriting campaign?

As the campaign gains momentum and we have conversations with production companies, broadcasters, streamers and the major UK awards, I’m confident we’ll see a gradual cultural shift. The industry is becoming more aware of these issues, and I believe we’re moving toward working practices that are consistently fair, transparent and supportive of all composers.

One of the unexpected joys of this journey has been the warmth and solidarity within the working group: Anna Phoebe, Aisling Brouwer, Ben Foster, Daisy Coole, David Arnold, Jenna Fentimen, Jessica Jones, Nick Foster, Peter Gregson, Sam
Thompson, Sofia degli Alessandri-Hultquist and Tom Nettleship. Thank you everyone!

Whenever any of us needs help or guidance on a ghostwriting question, there’s a wealth of experience and generosity to draw on. We all feel deeply passionate about ending ghostwriting …and in many ways, the real work is only just beginning.

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The Ivors Academy welcomes the publication of the Independent Review of Arts Council England, led by Baroness Margaret Hodge. The review presents a clear opportunity to reset cultural funding in England around creative excellence, fairness and effective support for songwriters and composers.

We strongly support the review’s reaffirmation of the arm’s length principle – so arts funding is independent from politics – which is fundamental to protecting creative freedom and was a central recommendation in The Ivors Academy’s submission.

We are encouraged by the review’s response to long-standing concerns raised by our members and reflected in our evidence, including:

• Recommendations to strengthen regional presence and improve local decision-making.
• A renewed focus on creative excellence, through the recommendation to replace Let’s Create with a simpler and less prescriptive strategy.
• Clear recognition of the growing threat to music education and the talent development pipeline, driven by declining arts provision in schools and the closure of degree courses.
• A call for a radical overhaul of funding application systems, acknowledging that current processes are overly complex, resource-intensive and too often act as barriers to composers and songwriters.

Roberto Neri, CEO of The Ivors Academy, said: “To fulfil their remit as a vital organisation for many songwriters and composers, Arts Council England must quickly reform to refocus on creative excellence and access, urgently overhauling funding application systems that have become barriers rather than gateways for songwriters and composers. I look forward to working with ACE and the Government to achieve this.”

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As the voice of songwriters and composers, we welcome the Government’s initial findings from the Copyright and AI consultation. The results are unequivocal and provide a clear course of action: 88% of the creative industries agree with our position that copyright should be strengthened and that licensing should be required in all cases.

The answer is simple: songwriters and composers must retain control over how and when their work is used and be paid fairly.

This is the only option that protects songwriters and composers and demands respect for the true value of the song and composition.

In our submission to the consultation, we argued that:

• A copyright exception would fundamentally undermine a key principle of UK copyright law and the nature of exclusive rights.
• A rights reservation system would be impractical and damaging, particularly for self-published songwriters and composers.
• Greater transparency, clear labelling and stronger personality rights are essential to protect authors.

Next year, we look forward to the Department for Science, Innovation and Technology, working jointly with the Intellectual Property Office and the Department for Culture, Media and Sport to publish their report on the use of copyright works in the development of AI systems and in relation to AI outputs.

We will continue to work with the Government to ensure that the voice of songwriters and composers remains at the heart of the AI debate.

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