By Mykaell Riley, University of Westminster
In a surprising turn of events, Leeds-based guitar band English Teacher won the 2024 Mercury Prize for their debut album This Could Be Texas, marking a triumph for indie rock.
This four-piece group, formed in 2020 while studying at Leeds Conservatoire, have quickly risen to prominence on the UK music scene, capturing the hearts of listeners and critics alike with their distinctive sound and northern charm.
English Teacher’s music sets them apart from their post-punk contemporaries. Their sound is a product of diverse influences including The Beatles’ melodic sensibilities, Siouxsie and the Banshees’ gothic allure, and Amy Winehouse’s raw emotion. A unique blend of surrealism and social commentary in their lyrics plus subtle musical experimentation offers a fresh take on the classic guitar-band format.
This innovative approach has not gone unnoticed, with the Mercury Prize judges praising the album for its creativity and personality. Lily Fontaine, the band’s lead vocalist, expressed their astonishment at winning the prestigious award: “It’s surreal, feels like a dream – we must thank [producer] Marta Salgoni. She made so many great sounds.”
Salgoni’s expertise in crafting intricate soundscapes contributed to the album’s “subtle integration of musical experimentation”, according to the judges.
Fontaine’s reaction reflected the band’s genuine surprise at this high-profile recognition of their artistic endeavours. English Teacher’s success story is intertwined with their signing to Island Records, a major label – home to the likes of Ariana Grande, Drake and fellow nominees The Last Dinner Party – that played a crucial role in launching their debut album.
This collaboration has not only birthed a prize-winning album but reignited discussions about the vitality of indie rock in an era dominated by algorithmic playlists and ephemeral viral hits.
The victory underscores indie rock’s enduring appeal and potential impact on the contemporary music scene. As the genre continues to evolve, bands like English Teacher push boundaries and challenge conventions, creating music that resonates with audiences and critics alike.
The band’s success also highlights the importance of regional music scenes in nurturing talent. By honouring figures from the Leeds music scene during their acceptance speech, English Teacher acknowledged the supportive ecosystem that helped propel them to national recognition. The band is the first act from outside London to win the prize for a decade.
The 2024 Mercury Prize ceremony also marked a significant shift in the award’s presentation format. The event was held in the more intimate space of Abbey Road Studios for the first time, moving away from its traditional venue at the Hammersmith Apollo.
This change, and the decision to broadcast the ceremony on BBC Four, reflect the Mercury Prize’s adaptation to changing times and its commitment to profiling new music for a broader audience. As Jo Twist, chief-executive of the British Phonographic Industry (BPI) which oversees the Mercury Prize, told MusicWeek:
For the 2024 Mercury Prize we will work imaginatively with the BBC to deliver a premium programme of music content and digital engagement that will, as ever, benefit all 12 artists in reaching a wider audience, providing an important platform for their evolving career and musical journey.
The move to a more intimate setting at Abbey Road, and the focus on recorded performances, may have enhanced the prize’s ability to showcase the nominated artists’ music in a more direct and accessible manner.
But, while English Teacher’s win is undoubtedly a cause for celebration, it also sheds light on the challenges bands face in today’s music industry. The stark reality is that it’s common for these accomplishments to coexist with being on universal credit, living at home, or sofa surfing. It’s a precarious business.
On the upside, as English Teacher bask in the glow of their £25,000 award, the music world eagerly anticipates their next moves.
Mykaell Riley, Principal Investigator, Black Music Research Unit, University of Westminster
This article is republished from The Conversation under a Creative Commons license. Read the original article.
