Cancer Bats Set to Headline Heavy Music Awards 2019, Laura Jane Grace to Host

Canadian punk heroes Cancer Bats are set to headline the third annual Heavy Music Awards at the O2 Forum Kentish Town, London on Thursday 22 August 2019.

Liverpool’s Loathe will support, alongside the genre-destroying Nova Twins, with punk duo Delaire The Liar opening proceedings. All four acts will be performing full sets, between the presentation of the Heavy Music Awards themselves.

In addition, we are immensely proud to welcome the legend that is Against Me!’s Laura Jane Grace as host for the evening.

Tickets are available via a random ballot to HMA19 voters. If you’ve missed out, look out for competitions in the run-up to the awards for further chances to win.

The Heavy Music Awards 2019 are supported by our headline sponsor EMP.


Heavy Music Awards 2019


Check out all the bands right here:





PPL Becomes Official Music Licensing Partner of HMA19

Music licensing organisation PPL is sponsoring the Heavy Music Awards for a third consecutive year, becoming the Official Music Licensing Partner of HMA19.

Sarah Mitchell, Director of Member Services at PPL, said, “Rock music has produced some of the most iconic recordings of all time, evolving over the years and pushing creative boundaries. It is also an important genre for PPL and continues to provide a significant contribution to our music industry’s success at home and abroad. We are honoured to support an event that showcases its foremost talents, and wish everyone shortlisted the best of luck.

PPL has become increasingly important to the industry as it works tirelessly to collect money for tens of thousands of performers and record companies, and this partnership geared towards helping those who may be missing out on what’s rightfully there’s by focusing on exactly what PPL does, and how.

Founded in 1934, the company licenses recorded music in the UK when it is played in public or broadcast and ensures that revenue flows back to its members. These include both independent and major record companies, together with performers ranging from emerging grassroots artists through to established session musicians and influential festival headliners.

Co-founder of the Heavy Music Awards, Dave Bradley, said, “It is wonderful to be welcoming PPL back to the HMAs for a third year, we are excited that we will be working alongside PPL’s incredible, passionate team once again to help spread the word about the very important work they do. Simply learning about what PPL does is compelling enough, so helping artists and record labels recover funds that they didn’t know they were due is a huge added bonus! We can’t wait to get started.”

Click here for more information about PPL.

Palaye Royale to Play Intimate Heavy Music Awards Charity Show in Aid of Nordoff Robbins

Indisputably one of the most exciting bands in rock right now, Canadian trio Palaye Royale are set to play a one-off, intimate charity show at London’s famous Borderline in aid of music therapy charity Nordoff Robbins, presented by the Heavy Music Awards.

The show will take place on Monday 17 June 2019, with support from fast-rising UK act Black Futures.

Tickets will go on sale at 9am Thursday 6 June via Ticketweb priced at £20. All proceeds will be donated to Nordoff Robbins.


Palaye Royale - Nordoff Robbins


Heavy Music Awards co-founder Andy Pritchard said, “We are so proud to be working alongside Nordoff Robbins for this year’s Heavy Music Awards, and we could not be more excited to have Palaye Royale on-board to help raise awareness of this inspiring charity’s work, and obviously to play what will be a crazy show in such an intimate setting. We’d like to express our sincerest gratitude to the band and their team for making this happen.”

Nordoff Robbins is the largest independent music therapy charity in the UK, dedicated to enriching the lives of people affected by life-limiting illness, disability or isolation. They support thousands of people through their own centres and by working in partnership with a wide range of organisations including care homes, schools and hospitals.

In the hands of a trained practitioner, music therapy can be used to support people living with a wide range of needs. It can help a child with autism to communicate, unlock forgotten memories for those living with dementia or provide comfort for someone facing a terminal illness.

Their music therapists support people to develop their own ways of being musical in order to explore their potential and connect with the world around them. Their music therapists are trained to work flexibly in a range of settings with people of all ages, responding to their specific needs to evoke positive change.

You can find out more about Nordoff Robbins on their website here.


Behind The Desk with Allianz Musical Insurance: Carl Bown

As part of our series of interviews with producers in partnership with Allianz Musical Insurance – sponsors of the HMA19 Best Producer category – we are discussing career highlights, studio set-up and great advice with some of the finest producers operating in rock and metal today.

For the second edition, we’re talking to Carl Bown. Based at his own Treehouse Studio in Derbyshire, Carl produced the HMA18 Best Album ‘You Are We’ by While She Sleeps, as well as the band’s recent follow-up ‘So What?’, and releases by the likes of Bullet For My Valentine, Fightstar and many more.

How did you get started in music production?
I grew up in bands as a teenager and kept getting demos done that I really didn’t like the sound of, so just started doing them myself with really REALLY basic public domain software, a £99 Zoom FX unit and a reel to reel tape machine in whatever space with whatever we could borrow… It was so basic but I enjoyed the guerrilla nature of it… Next thing I knew I’d got other bands asking me to make their demos etc… Honestly: I had literally no actual idea what I was doing I just used a bit of common sense but I guess it got results!

Could you give us an overview of your career?
Like I said above, I started out as basic as you could get and got busier and busier, in about 2005 I built myself a small studio in a garden shed and took a year out from university to see if I could do production as a full time job. It was demos and local bands singles and low budget albums mostly, until I started getting some signed bands interested to do demo work. I guess that was the turning point. I knew that if I made the demos sound awesome then it would be hard to beat when they came to record them for real! So I stayed up and pulled out all the stops. The plan worked with a band called Fightstar, on the back of that I got nominated for the Music Production Guild “Breakthrough Producer” award… I didn’t win but it led me to find management and ultimately to work with and be mentored by Colin Richardson, a guy who I’d looked up to and who’s work I had revered (and still do) to be the very best of Record Production and mixing. From then on I got to work with bands like Trivium, Carcass and Machine Head as an engineer for Colin whilst also working on my own Productions with While She Sleeps, Gunship etc, and a couple of albums with Bullet For My Valentine.

What have you been working on in 2019?
I started 2019 by taking a bit of time off production and built myself a new mixing studio. At the end of While She Sleeps’ “So What?” I felt like I needed a new space to create and mix in. I ripped out the whole inside of my original Treehouse studio and started again… It was well worth it as I’ve created an incredible mixing environment to work in. I’ve now got two very exciting projects on the go but nothing I can really talk about as the bands haven’t released anything about the projects yet!

What has been the proudest moment of your career as a producer?
This is a tricky one because its kinda like picking a favourite child… Impossible! Maybe when one of the Bullet For My Valentine albums I produced hit number 1 in the UK midweek charts, that was super cool, I loved the album and I think my folks actually believed I had a “proper job” at that point so that was pretty rad. Or maybe WSS selling out the Roundhouse in Camden – the first show I saw them at had less than 50 people in and I KNEW I wanted to make their record and create them a massive sound… Four albums later seeing such a large, passionate crowd singing so loud and so ferociously to the songs that we had produced was a real moment for me. I dunno – one of those, I can’t choose!

What would you say are the pros and cons of owning your own studio?

  • I have more control over time (not literally – but you know what I mean!) – I’m not clock watching and I can work as early or late as I want… I find this really important because I’m quite a night owl and can become more creative at night.
  • The same goes for bands – I want artists to feel chilled and not worried about time running out etc… It’s really important for me to have a comfy room and having full control of the studio allows me to provide that.
  • From the technical side of things it’s fantastic to have a place that has all of my go to gear ready to go and working just as I like it.
  • It was very expensive to do properly – it’s like taking a gamble on yourself to a certain degree, then there is the general wear and tear…. I seem to be forever buying replacement headphones and adapters for things etc.
  • It takes time to do! like I said before I had to take a couple of months off to build my new mix room… time I couldn’t earn any money and just haemorrhaged it on building materials and new gear for the studio!



What do you see as the biggest pitfalls when starting out as a producer?
Unless you come up as someone’s engineer or assistant it’s very hard to get to work with larger/higher profile artists. It’s all about proving your worth when you get the chance – and getting those chances is very tricky and hard to come by. A very real pitfall is making enough money. When starting out trying to become a producer or engineer it’s almost like a chicken and egg thing – you kinda need to make great sounding records with your name on them to help convince bands to work with you, but without great bands you can’t make the records that sound great… Then there is the rub, you need to get paid enough to survive as well. A certain amount of faith is necessary to see it though.

What has been the most important technological advance you’ve seen in production since you started out?
I have to say two things really – one being the development of the Kemper guitar amp modeller. It has quite literally revolutionised the way I can work… I know other producers that feel the same – quite simply it was a game changer in recording guitars. The other is an odd one but I’d have to say the advancements in manufacturing things like microphones have made incredible mics and other equipment much much more affordable and accessible. For example a company called Aston make some insanely good, high quality mics that say 15 years ago just wouldn’t be possible or would have been thousands of pounds to own.

How important is it to insure your equipment? Have you ever had to deal with theft or damage that required an insurance claim?
Very. I’ve had a few bits stolen, nothing massive BUT there was one time most of my studio got blasted in a lighting storm… It was right on top of us, whilst pulling the plugs out we were struck – I got shocked, gear got shocked, stone fell off my house roof… It was a bad time. It was quite early in my career and without insurance it could have really held me back. Now I’ve got two studios fully insured: a mix room and a recording studio – for example my recording studio has some really bespoke bits of gear in it including mixing desk/sidecar that it would be insane not to have insured – it gives me piece of mind that it is protected.

What is the best piece of production advice anyone has ever given you?
After asking Colin Richardson for mixing advice he said “I guess it is all about making sure you can hear what you’re meant to hear, when you’re meant to hear it”. I was expecting something technical and he gave me some Yoda style advice that has really stuck with me.

Finally, what one prediction would you make for music production in the next 10 years?
Hard question! The next ten years are going to be interesting because of the way we listen to and pay for music has nowhere near settled… The way we release music will probably change and therefore the way we produce the work will follow suit. For example the production of individual singles or a short EP is very a different to the mindset of producing a full album of say 12 songs… Perhaps we’ll see shorter bodies of work being produced more frequently and that will potentially lead to more eclectic productions as artists will have a shorter cycle touring before they need to go in the studio again… Either that or grunge will come back and we’ll all be back on 16 track tape… Both sound SUPER FUN me.

Check out Carl’s website right here, and follow him on Instagram here.

You can find out more about Allianz Musical Insurance, sponsors of the HMA19 Best Producer category, at their website.

Behind The Desk with Allianz Musical Insurance: Romesh Dodangoda

As part of our series of interviews with producers in partnership with Allianz Musical Insurance – sponsors of the HMA19 Best Producer category – we are discussing career highlights, studio set-up and great advice with some of the finest producers operating in rock and metal today.

First off, we’re talking to Romesh Dodangoda. Based at his own Long Wave Studios in Wales, Romesh has worked with artists as diverse as Motörhead, Bring Me The Horizon, Funeral For A Friend, Kids In Glass Houses, Twin Atlantic, Bullet For My Valentine and Lower Than Atlantis.

What studio are you based at?
I have my own private studio in Cardiff, Wales called Long Wave. The facility is set up just for me with all my equipment so I can work here whenever I want and have access to all of my gear. I do however travel around a lot to different studios to work on records, it depends on the project.

How did you get started in music production?
I started about 17 years ago now. I was in a band and really loved being creative in the studio rather than actually being part of a band so I focussed on production and mixing and over the years it became a reality!

Could you give us an overview of your career?
I’ve been producing and mixing records now for a long time, mainly in the rock/pop/metal genres. My career started working with a lot of bands from the South Wales area and gradually after a while my production/mixing seemed to get popular and I started working with artists from all over the place. I’ve been really fortunate to get to work with some amazing artists over the years!

What have you been working on recently?
Last year I flew out to Los Angeles to record a new album with Bring Me The Horizon. We spent two months out there recording ‘amo’ which was such a great experience and it’s been amazing to see the success the album has brought.

What has been the proudest moment of your career as a producer?
Working on an album with Motörhead is pretty up there I would say. They are a legendary band with so much history so it was an honour to be involved. Finding out that ‘Mantra’ by Bring Me The Horizon had got them a Grammy Nomination and also getting the Number 1 UK album was a very special moment too!

What would you say are the pros and cons of owning your own studio?
The pros of owning my own studio is I can get in there, work on what I want, when I want and not be paying every day to hire a big studio somewhere. Obviously owning the studio costs me money with all the overheads of equipment, building, staff, insurance, bills etc but having one allows me to work at my own pace without it costing a lot of money with paying a daily rate to another studio. The cons are it costs a lot of money to run and to maintain. There’s always gear that needs looking at and fixing those things costs money. Obviously the studio uses a lot of electricity so bills can be quite high there. You have to make sure it’s secure as well. These costs add up!

What do you see as the biggest pitfalls when starting out as a producer?
People buying lots of expensive equipment before learning how to really use it properly is a common problem I see. I think it’s way better to start with limited equipment and learn how to make that sound really good. I think a lot of people when starting out will also try and do everything where sometimes, it’s better to send the track to someone with more experience to mix it perhaps.

What has been the most important technological advance you’ve seen in production since you started out?
I think just how far plugins have come since I started is mind blowing. I still have a massive collection of analog equipment because I love the sound it brings but it’s been crazy to see how close some software companies have got lately. Also it’s amazing how accessible all the tools have become.

How important is it to insure your equipment? Have you ever had to deal with theft or damage that required an insurance claim?
It’s massively important. All my equipment is very important to me and some of my gear dates back to when I first started out so I would be so heartbroken if anything ever happened to it. If you don’t insure your equipment it will always be too late when you need to make a claim. It’s best to just make sure you’re covered for everything. I have high security with my alarm also connected to the police for monitoring and CCTV that’s viewable off-site which helps peace of mind.

What is the best piece of production advice anyone has ever given you?
It’s hard to pinpoint a specific thing but I have learnt so much from other producers over the years. In November last year, I decided to start an audio community at www.control-room.net which is full of incredible producers and mixers and it’s been really amazing to share and exchange production advice and ideas in there daily.

Finally, what one prediction would you make for music production in the next 10 years?
I think the way it’s going there’s going to be even more accessible production tools available to almost everyone. It’s really interesting to see how some people are fusing different genres together so it’s going to be very interesting to see where music is in the future!

You can find Romesh’s official website here, or follow him on Instagram right here.

Heavy Music Awards 2019 Finalists Announced

The finalists for the third annual Heavy Music Awards have been announced.

Following nominations from almost 600 industry insiders representing hundreds of organisations, the shortlists represent a true cross-section of tastes across all corners of the heavy music world. The public will now vote to decide the winners at vote.heavymusicawards.com.

HMAs co-founder Dave Bradley said, “We’re overwhelmed by the support the HMAs have received from the industry at large, and excited that the many hundreds of individuals who nominated have once again produced shortlists that show the strength and diversity of the heavy music landscape in 2019.

“The Heavy Music Awards are built around a philosophy of inclusion and positivity – we’re incredibly proud to promote that message, and we can’t wait to celebrate once again at the biggest HMAs yet on 22 August.”


Click here to vote now


Voting closes at 5pm on Thursday 27 June 2019. Winners will be announced at the O2 Forum Kentish Town, London, on 22 August.

Tickets to the Heavy Music Awards are free of charge. Voters are automatically entered in the ballot to win tickets.


Heavy Music Awards 2019
The Finalists


BEST ALBUM – Presented by EMP
Architects – Holy Hell (Epitaph Records, Produced by Dan Searle & Josh Middleton)
Black Peaks – All That Divides (Rise Records, Produced by Adrian Bushby)
Ghost – Prequelle (Loma Vista Recordings, Produced by Tom Dalgety)
IDLES – Joy As An Act Of Resistance (Partisan Records, Produced by Space)
Judas Priest – Firepower (Epic, Produced by Tom Allom & Andy Sneap)
Parkway Drive – Reverence (Epitaph Records, Produced by George Hadjichristou)
Turnstile – Time & Space (Roadrunner Records, Produced by Will Yip)

BEST UK BAND – Presented by Spotify
Architects (Epitaph Records)
Black Peaks (Rise Records)
Bring Me The Horizon (RCA)
Enter Shikari (Ambush Reality)
Iron Maiden (Parlophone)
Judas Priest (Epic)
While She Sleeps (Sleeps Brothers / Spinefarm Records)

Beartooth (Red Bull Records)
Behemoth (Nuclear Blast)
Ghost (Loma Vista Recordings)
Halestorm (Atlantic Records)
Parkway Drive (Epitaph Records)
Turnstile (Roadrunner Records)
Twenty One Pilots (Fueled By Ramen)

BEST LIVE BAND – Presented by O2 Forum Kentish Town
Architects (Epitaph Records)
Bring Me The Horizon (RCA)
Enter Shikari (Ambush Reality)
Fever 333 (Roadrunner Records)
Ghost (Loma Vista Recordings)
Parkway Drive (Epitaph Records)
Slayer (Nuclear Blast)

BEST UK BREAKTHROUGH BAND – Presented by Believe
Conjurer (Holy Roar Records)
Dream State (UNFD)
Holding Absence (Sharptone Records)
Parting Gift (Fearless Records)
Puppy (Spinefarm Records)
Sleep Token (Spinefarm Records)
Yonaka (Asylum Records)

Alien Weaponry (Napalm Records)
Bad Wolves (Eleven Seven Music)
Fever 333 (Roadrunner Records)
MØL (Holy Roar Records)
Pagan (Hassle Records)
The Faim (BMG)
Vein (Closed Casket Activities)

BEST PRODUCER – Presented by Allianz Musical Insurance
Tom Dalgety
Romesh Dodangoda
Lewis Johns
Nick Raskulinecz
Andy Sneap
Dan Weller
Will Yip

Derek Bremner
Thomas Lisle Coe-Brooker
Corinne Cumming
Paul Harries
Jennifer McCord
Tom Pullen
Ester Segarra

2000 Trees, UK
Arc Tan Gent, UK
Bloodstock Open Air, UK
Download Festival, UK
Hellfest, France
Slam Dunk Festival, UK
Wacken Open Air, Germany

Architects – Holy Hell (Epitaph Records, Artwork by Dan Hillier)
Behemoth – I Loved You At Your Darkest (Nuclear Blast, Artwork by Nicola Samori)
Boston Manor – Welcome To The Neighbourhood (Pure Noise Records, Artwork by Josh Halling & Martin Ruffin)
Bullet For My Valentine – Gravity (Spinefarm Records, Artwork by Daniel Holub)
Don Broco – Technology (Sharptone Records, Artwork by Charlotte Smith)
Ghost – Prequelle (Loma Vista Recordings, Artwork by Zbigniew M. Bielak)
Judas Priest – Firepower (Epic, Artwork by Claudio Bergamin)


Click here to vote now

Spotify Partner with Heavy Music Awards

Streaming giant Spotify are now confirmed to sponsor the Best UK Band category at the third annual Heavy Music Awards.

Since Spotify’s launch in 2008, the audio streaming platform has championed both emerging and established artists across all corners of the heavy music spectrum. The platform has helped to grow audiences for thousands of artists and sponsoring this category at the Heavy Music Awards further demonstrates their commitment to the genre.

Heavy Music Awards co-founders Dave Bradley and Andy Pritchard expressed their excitement for the partnership which adds significant distinction to the category.

Dave said, “Last year, it meant a lot to us that Spotify’s Global Head of Rock, Allison Hagendorf, was able to attend to present an award at HMA18. This year, to grow the relationship with an official category sponsorship is all the more exciting.”

Spotify’s Bryan Johnson, Lead, Artist & Industry Partnerships said, “We’re delighted to team up with the Heavy Music Awards this year and sponsor the Best UK Band category – our first official partnership with the awards. The UK scene is in an incredibly exciting place right now and we can’t wait to see who takes the prize on the night. Good luck to all nominees!”

The Best UK Band category has been one of the most fiercely contested since the Heavy Music Awards began. Previous winners have been Black Sabbath in 2017, and Architects in 2018.

Moshhh Becomes Official Content Partner for HMA19

Kent media studio Moshhh has signed up to become the Official Content Partner for the third annual Heavy Music Awards.

Having built a reputation for high quality output in recent years with sessions for the likes of While She Sleeps, Holding Absence, Chapter & Verse and Delaire, The Liar, the Margate-based team will now work closely with the HMAs to bring interviews and live footage to fans throughout the evening as part of the HMAs’ digital-first approach for 2019.

Moshhh founder Charlie Ryan said, “We’re super stoked to be working with the Heavy Music Awards to bring coverage of this year’s event to heavy music lovers all over the world! We’ve long admired their dedication to supporting and recognising the very best heavy artists, and it’s a real privilege to be working with the team.”

HMAs co-founder Andy Pritchard said, “We’ve been following Moshhh’s growth for a long time and seen them raise the bar consistently. They’re progressive, passionate and knowledgable, and together we’ll now be able to reach a far greater audience as we push content live almost immediately, all evening. Our intention has always been to make the HMAs as inclusive as possible, and with our audience spread across the whole world this is a great way for us to bring as many fans to the party as possible. This is a really important step in growing the HMAs’ global engagement and we’re very excited to be taking it with Moshhh.”

You can take a look at some of Moshhh’s work below, and find out more about them here.


HMA19 Young Photographer of the Year – The Winner Is…

The Heavy Music Awards Young Photographer of the Year competition has reached its climax – following a record number of entries, judging by hugely respected professionals Corinne Cumming and Jennifer McCord, and thousands of votes from the public, we are excited to reveal that the winner is… Dan Mills!

It was Dan’s photo of Enter Shikari at Nottingham Rock City that sealed the victory – and with Dan having now bagged his prize of a photo pass for Download Festival in June, he will have the chance to shoot the band once more when they headline the Avalanche Stage. The festival will be giving Dan access to shoot throughout the weekend alongside some of the industry’s biggest names.

Having judged the entries alongside Corinne Cumming, Jennifer McCord said, “It was a really great experience judging the shortlist, there’s so many talented young photographers and it’s really exciting. Dan’s photo stood out to me immediately because I felt it captured the quieter moments of a Shikari show. Your eye is drawn to Rou immediately but the framing also brings in the crowd and gives an intimate sense of the performance. Plus I love the tonality in the edit!”

Check out the winning photo below and make sure you follow Dan Mills on Instagram right here.


HMA19 Young Photographer of the Year - Enter Shikari by Dan Mills


We’d like to say a huge thank you to Corinne and Jennifer for their time and expertise, and to Download Festival for giving us this incredible prize.

Congratulations to Dan on winning, and to his fellow finalists Chloe Ring, Adam Chandler, Benny Brown, Murry Deaves, Fraser Kerr and Jacob Powney – and of course thank you to everyone who entered and voted. YPOTY will be back in 2020!

Young Photographer of the Year 2019 Finalists Revealed

The finalists for the third edition of the Heavy Music Awards Young Photographer of the Year have been announced, having been judged exclusively by professional snappers Corinne Cumming and Jennifer McCord. To qualify, entrants needed to be aged 16-21 when entry closed at the beginning of March.

Public voting is now open to determine the winner, who will be invited to shoot Download Festival at Donington Park in June.

This year, in line with the HMAs’ mission to push forward and engage audiences in new ways, voting is taking place exclusively through Facebook Messenger.

To take part, simply click here and follow the prompts. The voting process takes less than a minute and requires no sign-up. Voting closes 22 April 2019.

The finalists are:

Murry Deaves
(Photo of Architects at O2 Victoria Warehouse, Manchester)

Dan Mills
(Photo of Enter Shikari at Rock City, Nottingham)

Benny Brown
(Photo of Parkway Drive at O2 Apollo, Manchester)

Fraser Kerr
(Photo of Twenty One Pilots at O2 Academy Brixton, London)

Chloe Ring
(Photo of Parkway Drive at Alexandra Palace, London)

Jacob Powney
(Photo of Estate at O2 Academy, Birmingham)

Adam Chandler
(Photo of Turnstile at The Globe, Cardiff)


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