Since becoming Chief Executive of The Ivors Academy, Roberto has led a transformation of the organisation, strengthening its position as the leading voice for songwriters and composers globally. Under his leadership, the Academy has grown into one of the world’s most influential organisations representing music creators, significantly expanding its membership from 2,000 to 15,000 members in a year, increasing its impact with government and industry, launching new initiatives to support creators and extending its reach and influence internationally.

During this time, The Ivors Academy has strengthened its campaigning on creators’ rights, secured important policy progress on issues including generative AI and creator remuneration, expanded opportunities for professional development, and introduced new programmes and events that celebrate and empower songwriters and composers at every stage of their careers.

Tom Gray, Chair of The Ivors Academy, said: “Roberto has spent his entire career on one stubborn argument: that songwriters and composers deserve actual, spendable money, not just polite applause. He’s one of the rare people in this industry, who’s won that argument on his day.

Together, The Ivors Academy has stopped being a good idea people admire from a distance and become one of the most influential organisations for songwriters and composers anywhere in the world; built by getting industry, government and creators to sit in the same room and agree on something, which is its own kind of small miracle.

This appointment isn’t a gift. It’s just everyone else catching up with what the rest of us already knew. I couldn’t be more pleased for him and for our community on gaining such a committed champion entering the House of Lords.”

Roberto Neri, CEO of The Ivors Academy, said: “It is an enormous honour to be appointed to the House of Lords. Everything I have worked towards throughout my career has been driven by a belief that music creators deserve to be valued, fairly rewarded and given every opportunity to succeed.

It is a privilege to lead The Ivors Academy and to work alongside extraordinary songwriters, composers and colleagues every day. I look forward to continuing to champion music creators and the wider creative industries, ensuring they remain at the heart of our cultural life and future prosperity.”

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The motion, tabled by Aengus Ó Snodaigh TD, recognises the urgent need for action to protect songwriters, composers, performers and other creators from the unauthorised use of their work by generative AI systems.

IMRO, The Ivors Academy and Screen Composers Guild of Ireland have worked collectively to highlight the impact of generative AI on music creators and to call for a clear framework based on consent, transparency, licensing and fair remuneration. The organisations said the Dáil’s support sends a strong signal that Ireland values human creativity and is prepared to stand with creators at a pivotal moment for copyright and culture.

The motion calls for action at both national and European level, including measures to protect copyright in the age of AI, ensuring creators are fairly remunerated when their works are used, providing meaningful transparency around AI training data, supporting effective opt-out and licensing mechanisms and ensuring that public funding continues to support human creativity. The three organisations said the motion must now be followed by concrete action to ensure that copyright frameworks remain fit for purpose in the age of AI and that creators retain meaningful control over how their work is used.

Victor Finn, IMRO CEO, said: “The passing of this motion is a very welcome recognition of the serious threat that unlicensed and unregulated AI poses to Ireland’s music creators. Copyright is not an obstacle to innovation, it is the foundation that allows creators to earn a living from their work. Ireland’s songwriters, composers and publishers must have the right to decide how their work is used, to know when it has been used and to be fairly compensated for that use.”

Catherine Martin, Head of Policy, Ireland of The Ivors Academy said: “This is a significant milestone for songwriters and composers. Generative AI cannot be built on the uncompensated work of creators, nor should it be allowed to flood the market with content that competes directly with the very people whose works were used to train it. The principles are simple: consent, transparency and fair pay.”

Sarah Glennane, CEO of the Screen Composers Guild of Ireland, said: “Screen composers are already working in a rapidly changing creative economy. AI tools must not be allowed to undermine professional creative work, weaken cultural diversity or erode the value of original composition. We welcome the Dáil’s recognition that creators must be at the centre of AI policy.”

The organisations also welcomed the strong backing of Irish artists, music creators and representative bodies ahead of the debate. A briefing at Leinster House, attended musicians and songwriters including The Script’s Danny O’Donoghue, highlighted the growing impact of AI on creative careers.

Danny O’Donoghue from The Script said: “I found out recently that 125 of my songs along with 21 million others have been scraped and used by AI companies. There’s been no transparency, no compensation and no opt out. This motion was about making everyone aware that our industry is under attack and getting the political support we need.”

Ireland now has an opportunity to show leadership during its Presidency of the Council of the European Union by placing creators’ rights at the heart of the European AI and copyright agenda.

IMRO, The Ivors Academy and the Screen Composers Guild of Ireland said they will continue to work with Government, Oireachtas members, EU institutions and the wider creative sector to ensure that creators’ rights are fully reflected in AI policy and copyright enforcement.

The three organisations jointly stated: “Ireland has a proud global reputation for music, songwriting, composition and storytelling. That reputation is built on human creativity. We urge Government to build on the momentum created by this motion and to move quickly towards meaningful protections to ensure AI develops in a way that respects creators, sustains livelihoods and supports the future of Irish culture.”

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The plan recognises the vital role of songwriters and composers, acknowledging that while the music industry is interconnected, “this all starts with music creators”.

As part of the plan, the government will invest £45 million over three years through a new Music Growth Package. This includes £15 million through Arts Council England to support music creators, including songwriters and composers.

The Ivors Academy has been engaging with Arts Council England to help ensure this funding is accessible to songwriters and composers, with straightforward application processes that work for individual creators.

Roberto Neri, CEO of The Ivors Academy said: “We welcome the £45 million Music Growth Package and the government’s recognition that the music industry starts with its creators. We look forward to working closely with the government and Arts Council England to ensure this investment delivers meaningful, direct benefits for songwriters and composers, helping more creators build sustainable careers. We also welcome Michael Dugher back to the music industry as the government’s Music Champion.

This plan is an important step, but there is much more to do. Songwriters and composers are the foundation of the music industry, and they must share fairly in the value they create while received the protections they are due.”

The plan also recognises the importance of music education in developing the next generation of creators. Research by The Ivors Academy found that 96% of composers nominated for or winning The Ivors Classical Awards learned at least one instrument as a child, while 94% had opportunities to perform music when they were young.

To strengthen music education, the government has committed to:

• Reforming the National Curriculum from September 2028 to give every child a strong foundation in music.
• Abolishing the EBacc from this academic year, following a 47% decline in students studying music since its introduction in 2010.
• Launching the National Centre for Arts and Music Education this September.
• Establishing a new Music Hub network from August 2027.

The government has also announced that Michael Dugher, former CEO of UK Music and former Shadow Secretary of State for Culture, Media and Sport, will become Music Champion to help drive delivery of the plan.

The Ivors Academy welcomes the government’s commitment to strengthening the UK’s music industry and supporting creators. Working with government last year, the Academy helped secure non-recoupable per diems for songwriters writing with the UK’s major record labels, but believes ambitious and far-reaching action is needed to ensure songwriters and composers receive fair value and can have sustainable careers.

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This marks a significant milestone for creators’ rights and reflects growing political recognition of the need to protect music creators from the impact of AI.

The motion, tabled by Aengus Ó Snodaigh TD, Sinn Féin spokesperson for Gaeilge, Gaeltacht, and Arts, recognises the work of The Ivors Academy and other organisations to defend “the rights of Irish artists, authors, creators and performers against exploitation and misuse, and for highlighting the impact of artificial intelligence developments on rights holders.”

The Dáil motion follows a sustained campaign by The Ivors Academy, IMRO and the Screen Composers Guild of Ireland to strengthen protections for creators. Earlier this month The Ivors Academy wrote to the Taoiseach calling on Ireland to use its Presidency of the Council of the European Union to lead Europe in strengthening protections for songwriters and composers in response to generative AI.

The motion calls on the Government to:

• Lead European action on creators’ rights during Ireland’s Presidency of the Council of the European Union, including a dedicated conference on copyright and AI.
• Introduce legislation to ensure fair remuneration, licensing, opt-outs and legal protections for creators.
• Ensure public funding for the arts supporting human creativity, not AI-generated content.
• Include arts sector representation on Ireland’s AI Advisory Council.

Danny O’Donoghue from The Script said, “It’s vital that the government backs us on this motion to protect Irish songwriters and composers from the misuse of generative AI. We must stand up for the creators who have dedicated their lives to this craft which is the foundation of Irish culture and give them what they deserve – their consent, fair pay and transparency.”

Iain Archer, two-time Ivor Novello winning songwriter, Board Director at The Ivors Academy and Chair of its All-Ireland Council said, “Generations of songwriters have put their heart and soul into their work. Songs which bear their fingerprint, songs which they rightfully own, and yet enrich us all. Tech companies are destroying our beautiful craft and our livelihood with each day that they continue to steal from all music creators. Machines cannot ever equate loves, losses, celebration or yearning. I want to see future generations of human songwriters have the opportunity to do this. We need this. This is why intervention at the highest levels is so important right now.”

Roberto Neri, CEO of The Ivors Academy said, “This is an important milestone for songwriters and composers in Ireland which demonstrates the value of creators, industry partners and policymakers working together to protect the rights and livelihoods of Irish writers. Since launching The Ivors Academy in Ireland, we’ve been committed to ensuring music creators have a stronger voice in shaping policy.”

Catherine Martin, Head of Policy, Ireland of The Ivors Academy said, “Ireland has an opportunity to lead the conversation on creators’ rights during its Presidency of the Council of the European Union, and we hope this motion builds momentum for meaningful, practical action. We urge members of Dáil Éireann to support songwriters and composers by voting in support of the motion on 14 July.”

The Ivors Academy announced the launch of The Ivors Academy in Ireland earlier this year, 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.

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Free to all members, the Knowledge Toolkit helps songwriters and composers better understand the business of music, protect their rights and navigate new opportunities with confidence. Songwriters and composers aged 18 or over, anywhere in the world, can join as a Discovery member for free and gain immediate access.

New to the Toolkit are two chapters exploring AI and Working Life & Community, alongside updated guidance across every existing topic.

Developed from conversations at The Ivors Academy Summit, alongside additional research, the Knowledge Toolkit has been created with industry experts who work with songwriters and composers every day. It brings together practical advice on topics including copyright, royalties, publishing, metadata, contracts and professional development, helping music creators build sustainable careers.

Roberto Neri, CEO of The Ivors Academy, said, “Songwriters and composers make better creative and business decisions when they are empowered with trusted, practical information. We’ve updated the Knowledge Toolkit to give our members even more expert guidance to help them protect their rights, develop their careers and seize new opportunities. Whether you’re just starting out or have years of experience, the Toolkit is here to help you make informed decisions with confidence.”

Access the Knowledge Toolkit

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As Ireland takes over the Presidency of the Council of the European Union, our CEO Roberto Neri has written to the Taoiseach, Micheál Martin, calling on the Irish government to lead efforts to protect songwriters and composers from the negative impact of generative AI. 

The Presidency is an opportunity to strengthen copyright protections across Europe, set the agenda on AI and the creative industries and help safeguard Irish and European cultural heritage. 

In our letter, we called on Taoiseach Micheál Martin to: 

1. Introduce legislation that supports a framework for the proper authorisation, remuneration and transparency for songwriters and composers if they opt-in their work for AI licensing. Consent cannot be imposed through default opt-ins and it should not be a condition of signing a new deal. Artists and songwriters must be able to say no without fear of penalisation.
2. Protect songwriters and composers from deep fakes and unauthorised digital replicas by introducing new personality rights for creators. This would protect creators, their voice, lyrics, image, likeness and style from unauthorised copying and mimicry by generative AI tools 3
3. Require AI services to introduce transparency over the works they train their models on and properly label AI music to ensure consumers know what they are listening to. 

Generative AI is an urgent concern for songwriters and composers. Music creators could see their revenues drop by almost a quarter by 2028 due to generative AI, according to research by the International Confederation of Societies of Authors and Composers (CISAC). This could amount to cumulative losses of €10 billion over five years.  

According to music streaming service Deezer, 44% of all tracks uploaded to its platform are now AI generated, more than 75,000 tracks every day, a 650% increase since the start of 2025.  

Roberto Neri, CEO of The Ivors Academy said, “The Irish Government has a unique opportunity to protect songwriters and composers across Ireland and Europe. We need authorisation, remuneration and transparency, and we urge the Taoiseach to champion legislation that protects, remunerates and empowers music creators.” 

Catherine Martin, Head of Policy, Ireland of The Ivors Academy said, “Irish songwriters and composers have a global impact and reach, bringing attention to our culture, language and heritage. The Irish Government should use the Presidency of the Council of the EU to not only showcase our world-class music makers, but to do its utmost to protect them from the immense challenges they face from generative AI.” 

The Ivors Academy announced the launch of The Ivors Academy in Ireland earlier this year, 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. 

Songwriters and composers anywhere in the world can join The Ivors Academy, with a free Discovery membership available. Find out more.

Read the full letter: Letter from The Ivors Academy to Taoiseach on Irish Presidency of the Council of the EU

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For over three decades, Martha D Lewis has built a distinguished career as a singer, composer and record label director. Her work spans jazz, world music, theatre, film and television, with performances at major international festivals and a longstanding commitment to supporting music creators.

Do you remember when you first realised music was what you wanted to do?

I don’t think I chose music. It sounds cliché, but I genuinely think music chose me. I started playing guitar when I was seven years old and I’ve been performing ever since.

What’s always stayed with me is a story about my grandmother, who I was named after. She had a beautiful voice but wasn’t allowed to sing because she was a girl. One day, a producer heard her singing and wanted to put her on a record, but her father refused. That record went on to become one of the biggest-selling records in the eastern Mediterranean.

Years later, when my mum wasn’t sure what to do with me because I wouldn’t stop singing, she wrote to my grandmother. My grandmother wrote back and said: “I was stopped from doing the thing I wanted to do, and I’ll take that regret to my grave. Please let Martha sing.”

I still carry something she made with me when I perform. I feel incredibly lucky to do what I do because the women before me weren’t always given that opportunity.

Have you noticed attitudes towards women in music change throughout your career?

There still isn’t parity between women and men in the music industry. Men don’t face the same pressures around age and appearance. Women are constantly thinking about how they’re perceived, whether they’re visible, whether they’re ageing “correctly”. Those pressures don’t disappear.

At the same time, I feel lucky to have experienced a very different music industry. I remember when you could make a living selling CDs, when arts funding was more accessible and there were more opportunities for musicians to learn their craft through performing. When I look at younger artists today, I genuinely wonder how they make it work. It’s harder than ever.

One of the biggest turning points in your career came later in life. What happened?

In 2017, I went back to university to study an MA in Songwriting. Before that, I thought I needed the perfect conditions to write. I thought I had to be in the right mood, work with certain people and have everything lined up just right.

Then I started this course and we were writing constantly. Eventually we were being asked to write three songs a day with people we’d never met before. It completely dismantled all the rules I’d built around my creativity.

The biggest lesson was that creativity doesn’t arrive because the conditions are perfect. You create because you show up. That experience transformed the way I work and probably led to some of the best music I’ve made.

Looking back, what have been the biggest turning points in your career?

One thing I’ve learned is that you don’t always know why something is happening when it’s happening. I represented Cyprus in Eurovision and we didn’t do particularly well. But if I hadn’t done Eurovision, I wouldn’t have met one of my most important collaborators. If I hadn’t met her, I wouldn’t have had decades of work that followed.

The older I get, the more I believe that the doors that close are just as important as the doors that open. When something doesn’t happen, it doesn’t necessarily mean you’ve failed. It might simply mean there’s another path waiting for you that you can’t see yet.

What concerns you most about the future of music?

AI is changing everything. I’m not anti-technology, but I am concerned about what happens when music becomes detached from the people who create it.

Human beings need stories. They need connection. They need to know that another person has lived something and turned it into art. When people listen to music, I want them to think about where it came from and who made it. If we want human-made music to survive, we have to support it. We have to go to gigs, support artists and understand the value of creativity. Music isn’t just content. It’s part of what makes us human.

What’s one small joy of the job?

Music itself. Whether it’s listening, creating, performing or discovering something new. Music is joy.

What’s one hard truth of the job?

Don’t measure yourself against what the industry values. Success isn’t just sales, streams or awards. A great piece of music is still a great piece of music, whether it reaches ten people or ten million.

As a member of The Ivors Academy’s Jazz+ Council, you’ve been instrumental in championing new voices through UK Jazz Plus. Why was that important to you?

When we first started the Jazz Council, we realised so many artists didn’t fit neatly into one box. We talked about calling it the Jazz and Blues Council, or Jazz, Blues and Soul, but it quickly became clear that so many musicians were creating something much broader. That’s how the name Jazz + Council at The Ivors Academy was born.

I then went on to create and direct UK Jazz Plus, for artists whose music is rooted in jazz but blends other influences – soul, folk, electronic, world music, whatever reflects who they are. They’re creating beautiful, original work that doesn’t always fit traditional ideas of what jazz should sound like.

Through UK Jazz Plus, I’ve wanted to use whatever influence I have to open doors for those artists. We started with a festival during the EFG London Jazz Festival, then went on to work with venues including the Southbank Centre, Rich Mix, PizzaExpress Live and now Ronnie Scott’s.

What makes me proud is seeing programmers recognise that jazz is evolving.

There are so many incredible musicians telling contemporary stories through this music, and they deserve platforms just as much as anyone else. That’s what UK Jazz Plus is about – celebrating artists who don’t fit into a box and giving them the opportunity to be heard.

Watch Martha D Lewis at Crazy Coqs Piccadilly on Saturday 26 September at 19:00.

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Roberto Neri, CEO of The Ivors Academy said, “Songwriters must not be expected to sign away their rights without proper authorisation, fair remuneration and full transparency. This means having a meaningful say in how their work is used, clear information about the deals being proposed, the ability to give or withhold consent, and a fair share of the value created. AI in music must be built on respect for creators’ rights, not on default opt-ins or terms imposed without genuine choice.”

Letter

Across the global music industry, record companies and publishers are negotiating AI deals that could shape the future of music. Yet the artists and songwriters whose works, voices, performances, likenesses and creative identities make those deals valuable are not being
meaningfully consulted.

Artists and songwriters remain the primary holders of many of the rights at stake, including moral, neighbouring, image and personality rights. These rights are not label or publishers assets to be licensed without clear authority, consent and accountability. This means that artists and songwriters should be (where applicable, through their managers) the primary parties approached by AI companies to discuss such rights.

We are increasingly concerned that artists and songwriters in existing recording and publishing agreements are receiving letters from major labels and publishers informing them that they will be opted in to AI-related uses by default, with little actual choice offered. At the same time, artists and songwriters signing new agreements are being presented with AI rights clauses as a standard condition of signing.

The result is a serious imbalance: artists and songwriters are being asked to give permission without sufficient information, clear terms or guaranteed remuneration.

We support innovation and recognise that AI can create new opportunities for music. However artists are not simply catalogue assets, and innovation cannot be used to override artists’ rights.

We therefore call on record companies, publishers, policy makers, AI companies, digital platforms and all industry partners to respect and consider three core principles:

Consent and control

Artists and songwriters must actively and specifically consent before their works, voice, performance, likeness or creative identity is used in connection with AI. There must be clarity around what they are being asked to approve, and they must have control over how it will be used. It cannot be buried in broad catch-all contract language or include rights in perpetuity. Consent cannot be imposed through default opt-ins and it should not be a condition of signing a new deal. Artists and songwriters must be able to say no without fear of penalisation.

Fair compensation

Where artists and songwriters choose to participate in AI-related uses, they must receive fair and meaningful remuneration. They must share in the value created by their works, and it cannot be considered a general label asset. Artists and songwriters must be consulted and it must be clear which percentage of revenue goes to the creator, to the label and to the AI company.

Clarity and transparency

Requests must be purpose-specific. Artists, songwriters and managers must be givenclear, timely and understandable information about any AI-related deal or proposal affecting their rights in order to make informed decisions. The information must encompass which rights it includes, what uses are permitted, the safeguards in place, duration of permission and how consent can be withdrawn.

We call on all companies entering into AI music deals to make a clear and public commitment:

• No default opt-ins.
• No forced AI clauses.
• No use of artists’ work, voice, performance, likeness or creative identity without meaningful consent, fair remuneration and full transparency.

At a time when policymakers are reviewing copyright rules in response to AI, the protection of artists’ and songwriters’ rights, voices and remuneration is not negotiable. The structures being created now will shape the music ecosystem for years to come. The future of music must be built with artists, songwriters and their representatives, not imposed on them.

Signed,

European Music Managers Alliance
European Composer and Songwriter Alliance (ECSA)
Music Artists Coalition (USA)
SONA – Songwriters of North America (USA)
NITO – National Independent Talent Organisation (USA)
IAO – International Artists Organisation
Association of Artist Managers (Australia)
Music Managers Forum Aotearoa (New Zealand)
Music Managers Forum Canada
Featured Artists Coalition (UK)
The Ivors Academy (UK)
Music Managers Forum UK
UMAN – Union des Manageuses et Managers de la musique (France)
Music Managers Forum Netherlands
NEMAA – Norwegian Entertainment Managers and Agents Association
IGMAP – Polish Artists Chamber of Commerce.
IMUC – Interessenverband Musikmanager & Consultants (Germany)
Music Managers Forum Sweden
AIM Ireland
MMaF – Music Managers Federation (Flanders, Belgium)
Music Managers Forum Finland
ZEME – Hungarian Managers Forum (Zenei Menedzserek Egyesülete)
Music Estonia Managers
Danske Artist Managers
Music Managers Forum Ukraine
Music Managers Forum Iceland
Music Managers Forum Suisse
FORMA – Foro de Mánagers (Spain)
Fédération des Bookers et Managers Unies (Wallonia, Belgium)

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Ayanna Witter-Johnson is a MOBO nominated singer, songwriter, pianist, cellist and composer. Ayanna’s diverse career has seen collaborations with artists such as Andrea Bocelli and Peter Gabriel, and with televised appearances including Later… with Jools Holland and the BBC Proms.

As a celebrated composer, Ayanna has been commissioned by the London Symphony Orchestra, Kronos Quartet and Chineke! Orchestra. Ayanna is a Board Director of The Ivors Academy and Classical Council member.

When did you first realise you wanted to write music?

I don’t remember a specific moment when I decided to write music, but I do remember that as a young child, while working through my ABRSM piano grades, I wanted to have a piece of mine included in the syllabus. I even wrote a letter to head office making a formal request when I was about ten years old. I actually received a reply, which blew me away, perhaps that moment planted a seed somewhere in me.

I also spent a lot of time making up songs with my grandfather, who is brilliant at improvising silly songs in the moment. Fast forward to my teenage years, and I composed my first “official” piece of music as part of my Music GCSE. That definitely felt like an exciting experience, but I hadn’t yet realised that I could actually be a composer. I genuinely assumed that those kinds of composers were all long gone, given that most of the classical composers I knew as a young pianist and cellist were from the past.

What’s a non-negotiable in your writing process?

Curiosity. I have to allow space to explore an idea without immediately judging it. Whether it starts with a lyric, a groove, or a harmonic progression on the piano, I try to stay in the spirit of play for as long as possible before switching into editing mode. The moment things become too self-critical too early, the music tends to close up.

What do you wish you’d known about the business side earlier?

That writing the music is only half the job. Understanding publishing, rights, registrations, and how income actually flows through the industry is not only empowering but incredibly important for establishing financial sustainability and protecting the value of your work.

So much of being an artist and composer nowadays is entrepreneurial. For those studying composition formally, I really think there should be mandatory modules in business management to better prepare students for the reality of building a career.

What’s one thing you’d urge members to do this month to protect their work?

Register your songs. It sounds simple, but making sure your works are properly registered with your performing rights organisation, and that you keep clear records of splits and collaborators, can make a huge difference later. It’s much easier to do it when a piece is fresh than to try to untangle it years down the line.

What’s changing fastest in songwriting and composing right now?

The speed of creation and distribution. With technology and AI tools, ideas can be generated, produced, and released incredibly quickly. But interestingly, that makes authenticity and artistic voice even more valuable. The question is becoming less “Can you make music?” and more “What is the unique perspective you bring to it?”

One small joy of the job and one hard truth about the job?

A small joy is the moment when a musical idea suddenly clicks, when a melody, lyric, concept, or harmonic progression falls into place and you realise the piece has found its centre.

A hard truth is that the path isn’t linear. Alongside the wins, the wonderful premieres and fantastic performances are also periods of uncertainty, disappointment and unmet expectations. Pieces you’ve put hours, weeks, or months into don’t always receive the rehearsal time or performances that allow them to be heard in their best light. There isn’t often much room to fail safely, and many outcomes can feel high stakes, as one project often leads to the next.

That said, through all of it I’m constantly growing in experience and resilience, and I appreciate those moments as part of an incredible journey that I’m very proud to be on.

www.ayannamusic.com

@AyannaWJ

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To prevent financial circumstances stopping composers from having their work recognised, we’ve introduced The Ivors Academy Composer Awards Bursary.

You must be a member of The Ivors Academy to apply, which includes our free Discovery tier.

Simply complete the form and we will send you a code to enter eligible work for free.

We will ask you to provide:

• Your name and email address
• Membership number
• Your main genre or discipline
• Which category you wish to enter work for
• Optional diversity, inclusion and equality information

Bursary applications close at 5pm Friday 3 July. Award entries close a week later at 5pm Friday 10 July.

For 2026, Professional members can enter work for free, Core members receive a 50% discount, and Discovery members receive a 10% discount on the £100 per work entry fee. To be eligible for this reduction, entries must be submitted by a member of The Ivors Academy and not by a third party.

Entry fees partially cover the operating costs of running an independent awards programme including the entry site, adjudication and overheads.

Introducing two new awards

We have introduced two new awards in the gift of The Ivors Academy at The Ivors Composer Awards recognising composers across all genres and disciplines:

Breakthrough, recognising an emerging composer or composing partnership at a pivotal moment in their career.

Composer of the Year, celebrating an outstanding body of music premiered during the eligibility period.

They join Fellowship of The Ivors Academy, Outstanding Contribution to Music and Innovation as awards presented in the gift of The Ivors Academy.

If you know a composer who qualifies within the rules, you can make a submission for free.

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