Ticketmaster UK Becomes Official Ticketing Partner of HMA18

Universe, Ticketmaster’s self-service ticketing platform, has become the exclusive Official Ticketing Partner of the Heavy Music Awards 2018, covering ticket services for both the HMAs at London’s KOKO and the April launch event at Manchester’s Gorilla.

Andrew Parsons, Managing Director, Ticketmaster UK says, “The Heavy Music Awards act as an annual meeting point for the whole metal and rock family, their support of the genre in live entertainment is vital to ensuring continued success for the industry as a whole.

“We are proud to ticket some of the greatest rock and metal events in the UK, from festivals such as Download, to full grassroot and arena tours for bands like Creeper (pictured) and Enter Shikari.

“Ticketmaster recently worked with Iron Maiden to deliver a credit-card entry tour across the UK, reducing the number of tickets appearing on secondary sites by more than 95%.

“Partnering with the awards is a great opportunity for Ticketmaster to hang out with the genre’s promoters, artists and fiercely loyal fans.”


Heavy Music Awards 2017 - Photo by James North



The agreement represents the first time the Heavy Music Awards has welcomed an Official Ticketing Partner, and will see both brands working together to increase awareness of the HMAs’ finalists and winners throughout the year.

Iain Johnson, co-founder of the HMAs, said, “We are delighted to partner with Ticketmaster’s Universe for this year’s Heavy Music Awards for our events in both Manchester and London.

“The Ticketmaster team is clearly passionate about finding ways to take heavy music to a wider, global audience, which tallies up with our own philosophy and long-term plans.

“Having the largest ticketing company in the world involved with the Heavy Music Awards is another sign of this wonderful scene receiving the respect it deserves.”

Find out more about Ticketmaster UK at their website, Twitter, Facebook or Instagram.



Interested in partnering with the Heavy Music Awards? Drop us a line at team@heavymusicawards.com or call 01277 356200.

Eleven Seven Music Supports HMA18

Eleven Seven Music has become the latest international heavyweight to sign up in support the Heavy Music Awards 2018. The label, with offices in New York, Los Angeles, London and Berlin, has overseen consistent success with some of heavy music’s most iconic artists across both recorded output and touring.

Dan Waite, Managing Director Europe, said, “When the opportunity came up to support the Heavy Music Awards 2018, Eleven Seven Music jumped at the chance. With our acts, Five Finger Death Punch, Mötley Crüe, HELLYEAH, In Flames, Sixx:AM, Bad Wolves, Papa Roach and many more, we believe in supporting the awards and the music.

“In 2006, Eleven Seven emerged as the pre-eminent 21st century rock label. As the vision of Tenth Street Entertainment CEO Allen Kovac, this full-service independent powerhouse has achieved an unprecedented string of successes, including Billboard’s 2010 “Rock Label of the Year.

“Year after year, Eleven Seven Music has been a dominant label at rock radio and 2018 will be a big year for us with releases from Five Finger Death Punch, Bad Wolves, SIXX:AM, HELLYEAH, and Papa Roach. From radio and licensing, to publicity and marketing, Eleven Seven continues to set the pace for the rock vanguard.”


Papa Roach


Find out more about Eleven Seven Music at their website, Facebook, Twitter or Instagram.



Interested in partnering with the Heavy Music Awards? Drop us a line at team@heavymusicawards.com or call 01277 356200.

Rise Records Signs Up to Support HMA18

US-based record label Rise Records has become the first official Industry Supporter of the Heavy Music Awards 2018.

Founded in 1991, the Portland-based label has built a reputation for being progressive and has embraced digital technology to break and support its artists on a global scale.

The label is home to established and emerging artists from all corners of the heavy music spectrum, including At The Drive-In, PVRIS, American Nightmare, Of Mice & Men, Knuckle Puck, Dance Gavin Dance, Issues, Hot Water Music, Cane Hill and many more.




Clare Maxwell, Head of Rise International and based in Rise’s London office, said, “It’s an honor to be involved in this years Heavy Music Awards.

“The HMAs represent everything wonderful about the scene we’re in. Great people recognising and awarding great music and having a hell of a party!”

You can find out more about Rise at their Facebook, Twitter, YouTube or Instagram.



Interested in partnering with the Heavy Music Awards? Drop us a line at team@heavymusicawards.com or call 01277 356200.

HMA18 Voting Panel Opened to All Industry Professionals

The Heavy Music Awards voting process begins with nominations from several hundred industry experts and professionals – a collective effort that aims to give a true reading of the current heavy music scene across a number of disciplines. Before the public voting begins, it is a way to hone the shortlists via the minds of those who work every single day at the beating heart of the industry.

With that in mind, it is imperative for the HMAs to ensure that industry panel is as far-reaching and comprehensive as possible. In year one, we welcome over 300 members to the panel. For 2018, we are looking to increase that number significantly.

If you work in music in a professional or semi-professional capacity, and you would like to join the panel – which simply requires you to nominate your favourites across 11 categories for 2017 – please click here to drop us a line.

The Heavy Music Awards 2018 takes place on Thursday 23 August 2018 at KOKO, London. Finalists will be announced at the HMA18 Launch Event at Gorilla, Manchester on 25 April.

HMA18 Launch Event Announced for Gorilla Manchester

The finalists for the Heavy Music Awards 2018 will be announced at a very special launch event on Wednesday 25 April, at Manchester’s Gorilla.

The show, which will see the shortlists revealed alongside the online announcement, will host performances from a number of acts spanning the heavy music scene. The full line-up will be announced shortly.

HMAs co-founder Andy Pritchard said, “We already know that the HMA audience is truly global – we’ve welcomed visitors from over 160 countries to the website since we launched in March – many of them to vote for the HMA17 winners – and our judging panel is based all over the world.

“With that in mind, we’ve been building a programme for 2018 that looks to bring this celebration of heavy music out of the capital and onto the doorstep of fans who share this passion for heavy music.

“The team at Gorilla absolutely share our goal of spreading a positive message as far as possible, and shining a light on some incredibly talented individuals and artists.”

As with HMA18 at London’s KOKO, the launch event will welcome fans, alongside artists and industry. Tickets are not available to purchase – to be in with a chance of winning a pair, you just need to sign up to the HMA mailing list here.


HMA18 Gorilla


Photo by Jack Kirwin.

London’s KOKO Announced as Venue for Heavy Music Awards 2018

The Heavy Music Awards will take place at London’s historic KOKO on Thursday 23 August 2018.

Following 2017’s inaugural HMAs – which saw the likes of Architects, Enter Shikari and Black Sabbath crowned winners thanks to almost 100,000 votes from the public – HMA18 promises to deliver on an even bigger scale.

HMAs co-founder Dave Bradley said, “The response to HMA17 was overwhelmingly positive – we were able to shine a light on some of the incredible talent in this scene right now thanks to the collective expertise of industry and fans in a totally democratic manner.

“Now, we feel the HMAs is in a position to step up and offer more. Since the curtain dropped at HMA17 we’ve been working tirelessly to take the Heavy Music Awards to the next level.

“KOKO allows us to share the night with a larger portion of the heavy music family, and is just a part of our ongoing plan to take the finest talent in heavy music to a wider audience across 2018.”

For all press and sponsorship enquiries, please email team@heavymusicawards.com

Tickets for the event will be available only to the voting public, with full details due to be announced in 2018. Public voting will open on Wednesday 25 April 2018.

Exclusive Interview with Zbigniew M. Bielak: The Artist Behind Ghost’s ‘Popestar’

The inaugural Heavy Music Awards saw Ghost’s ‘Popestar’ voted as the Best Album Artwork of the year, presented by The Pit. We’ve spent some time with the creator of this winning design, Zbigniew M. Bielak, to find out more about him, his work, and what this win means.

You have designed album covers for bands such as Paradise Lost, Mayhem and Ghost, when did you find your love for album design? 

By the time I fell for metal music in the early nineties, the aesthetics of the genre had already emancipated, and long grown out of the nude biker-warrior cliche. In my opinion, heavy metal – just as it stems from the youthful rebellion – also draws its quintessential charm from pop culture’s escapism. And that’s exactly why I find it so entertaining – I’d risk saying it is indeed a very cinematic art form.

Much like horrors and science fiction movies, metal indulgently dwells on formal hedonism, drawing it’s almost unrestrained freedom of expression from its own limitations. Being devoid of punk’s or reggae’s ambition of saving the world, it greedily embraces the comfort of being just pure form. And thus, paradoxically, it is closer to classical music and jazz. Alas the metal fans – myself included –  like to think of themselves more as insightful music connoisseurs, rather than rampant ideologists.

Having long left Birmingham’s industrial suburbs on its evolutionary path to become music of the young and the sumptuous, today’s metal is more confident than ever in expanding its aesthetic horizons. It aspires to be perceived almost as an intellectual exercise. That, obviously calls for a lot of narrative consistency – be it lyrical or visual. The latter of which became my field of interest, when the role of freehand illustration in the architectural practice slowly deteriorated into an obsolete craft, giving way to the CAD tools around the turn of the millennia.

Although I wouldn’t use it anymore in the architect’s work – at least past concept design stages – I still enjoyed drawing enough to seek any possible pretexts to cultivate it as an artistic outlet, parallel to my main profession. Around that time, I got a job of an encyclopaedic illustrator for a multi-volume history series. Another ‘formative’ experience was the job of documenting artifacts from archaeological excavations – a merciless exercise in dot-work.

Both of these endeavours required precision and constant improvement in the time-coherent, meticulous imagining. All that, let alone the technical drawing, and the love of Dore’s engravings, has left me hopelessly eclectic in my stylistic leanings, when – much in Wikipedia’s wake – the publishing market eventually came tumbling down. I took my toys and went back home.

All my metal vinyl was there – waiting for me in its terrifying, badly photoshopped glory – ripe for taking to another level using whatever techniques I learnt over those years. It’s proven to be a lot of fun, and still is.


Your background in architecture clearly has a significant influence on your artistic style. What are the differences in your approach to technical drawing and creative illustration? 

To me, there isn’t really much distinction. In the end, all of my approaches boil down to the complexity of an architect’s labour, which naturally defines many if not most of my cultural interests.

More than any other, this particular profession requires constant tapping for expertise into various, intertwined fields of knowledge, which co-exist in the so-called history of art. It’s a vast universe strewn across few thousand years’ span of flourishing and vanishing technologies, philosophies, architectural styles or decorative fashions, all of which render architecture as far from independent. Therefore, being granted freedom to draw stylistic inspiration from such variety of aesthetic stimuli– unrestrainedly and oblivious to professional liability – is already immensely satisfying.

On the other hand, all of the many technological disciplines, which stand responsible for the physical form and durability of buildings, are – artistically speaking – held together by the elegant precision of technical drawing. Plans and sections – from the poetic grandeur of a concert hall, to the prose of the juice extractor’s motor – when taken out of their immediate technological context, offer a multitude of almost perfectly standalone forms.

These forms, at least in my case, may be seen as a bridge to the world of synthetic graphic abstraction – something otherwise not really present in my work, yet translating to an indulgent use of the precise line work. It also lends me the much welcome comfort in irresponsibly portraying the seemingly logical forms and objects, with a relative ease.

Had I not tamed the technical drawing in the first place, I doubt I would have ever dared taking chances with anything past the simplest of forms, because as an artist, I am pretty much devoid of expressionist, let alone abstract sensitivities.


Your illustrations have amazing detail. In the case of ‘Popestar’, how long did it take from initial concept to final design? 

I guess I am lucky to have the tools of my trade on my side. Obviously, even a slight ability in technical drawing, helps make all the intricate elements seem way more challenging, than they actually are. Moreover, I take advantage of working on larger canvasses, so the final shrinkage to the applied twelve inch format does enhance the density of line work.

When all elements of composition fall into place, the inking itself is not a very long process. Being an architect I am very familiar with working on densely detailed blueprints, so, even though the final effect may suggest a painstaking, benedictine labor, the actual execution of the line work is never much of an ordeal to me, rather a pleasure. Generally speaking, it is the sketching and arriving at a satisfactory composition, that are a really time-consuming process.

Fortunately enough, the ‘Popestar’ concept was well outlined from the get go, so it was rather a smooth job, which  – if  I recall correctly – didn’t take longer than few weeks of work, all phases included.

I first did a bunch of synthetic 8x8cm sketches to grasp the composition – five or six I believe – most of which can be seen below. Then when all the elements were pretty much defined, I rescaled it to 12x12cm, and then again to 20x20cm, to work in all the architectural details over a few versions.



Ultimately, the final ink piece was drawn on 50x50cm format, part painted in watercolour and finally scanned and edited into its end result seen on the album. Due to immense amount of detail that was lost in translation to CD and LP formats, it was also made available as a museum quality art print, to preserve all information and nuance in its original extent.


How much involvement did Ghost have in the creation of the ‘Popestar’ artwork? 

Original Sketch by Papa Emeritus

The first draft of the ‘Popestar’ cover – which opens the sequence of sketches presented here – came from Papa Emeritus himself. It communicated his ‘Square Hammer’-lyric derived idea of a game of chess between good and evil precisely enough to enable a smooth start, with all elements pretty much already in place.

The Papa character would appear in his casual attire, known from the live situations. He was to be elevated on a postument, over the chessboard-floored piazza –  a star in his hand – and surrounded by the romanticised interwar architecture, with figures of the devil and the thinker, embedded into the buildings on the side.

As usual with Ghost’s artwork, the concept was about certain duality. The chessboard was meant as an arena of the apocalyptic battle for souls, yet at the same time, it symbolised a dance floor to underline the entertaining, pop nature of the songs appearing on the record.


The Heavy Music Awards’ finalists were nominated by the music industry, and the winners were decided by public voting. What does it mean to you that both the industry and the public voted for ‘Popestar’ to win?

It seems to mean, that both the music fans and the music industry have found my artistic output relevant enough to their respective criteria, to vote for ‘Popestar’. And that is a great deal to me, because first and foremost, I consider myself as an avid music fan.

For years I’ve been supporting the music scene – and that means both the artists and music industry – collecting music and going to the shows. And all that long before the idea of designing album covers even dawned on me. So, the trust I am now granted to illustrate some of my favourite music, is in itself a great reward, but it’s the feedback like the HMA nomination – let alone winning the award – that makes it worth going the extra mile.


Can you tell us something about the ‘Popestar’ artwork that would surprise Ghost fans? 

I think it’s a tall order to surprise Ghost fans with anything. They for sure are among the most inquisitive and well informed out there. Well, where it came from, aesthetically, ‘Popestar’ still belonged to the ‘Meliora’ universe of Fritz Lang’s Metropolis.

This time however, the energetic feel of the EP – soaked in shiny monumentalism and vivid contrasting colours – made me want to try dabbling into slightly vintage soviet-era stylistics, rather than further explore oppressiveness of it’s predecessor’s industrial palette.

The postument on which Papa is standing bears a lot of semblance to the never built 1937 Palace of the Soviets, which could be seen as CCCP’s equivalent of Albert Speer’s Germania – admittedly, I do have a soft spot for megalomaniac architecture.



What projects are you currently working on?

At the moment I am keeping busy with artwork for Ghost’s future offerings. It is always an exciting challenge to illustrate the ever-shifting, historic costume of the band. It has always demanded scrupulous, time consuming research, so currently I am nose deep in the books about medieval life as well as on art and architecture of the period. It’s scary and fascinating to say the least, and I can’t wait to bring it all into art on the next album.

I am also working on the next record from Absu, which will be a whole different thing, with their trademark Mesopotamian symbolism and occult extravaganza. You should also keep your ears and eyes peeled for the upcoming release of a brand new –  and Im sure musically groundbreaking – album from Australia’s purveyors of aural horror – Portal. I am very lucky to be able to work with so many bands, that are so pivotal to my taste in music.

Last but not least, its the end of the year, so the fourth instalment of the annual ZMB art calendar is in the making and ready for preordering via my online store. No rest for the wicked!


Find out more about Zbigniew at: Big Cartel | Behance | Facebook

Heavy Music Awards Return for 2018

The dust has barely settled on the first ever Heavy Music Awards, but today we are very excited to announce the event will return in 2018 with a full programme across the calendar year which will shine an even brighter light on the heavy music scene’s incredible talent both on and off stage.

Earlier this year, the inaugural HMAs received almost 100,000 votes from the public and crowned its first winners in August – Architects (Best Album), Enter Shikari (Best Live Band), Ghost (Best Album Artwork), Black Sabbath (Best UK Band), Gojira (Best International Band), I Prevail (Best Breakthrough Band), O2 Academy Brixton (Best Venue), Ben Gibson (Best Photographer), Download Festival (Best Festival), and Fredrik Nordström + Henrik Udd (Best Producer).

We’re not giving the whole game away just yet, but we can reveal HMA18 will once again take place in London on Thursday 23 August 2018, with a number of additional announcements due in the coming months.

New Categories

We’ve also given the categories a little reworking to underline our philosophy of giving exposure to up-and-coming artists alongside the established heavyweights. With that in mind, we’ve split the Best Breakthrough Band category in two – to create Best UK Breakthrough Band and Best International Breakthrough Band.

In addition, with more and more festival goers travelling abroad, we have opened nominations for Best Festival to the whole world.

We’ll be back with more announcements very, very soon.

Heavy Music Awards 2017

Creeper headlined HMA17 at House of Vans London



Sponsorship Opportunities

If you’re interested in sponsorship opportunities for HMA18, please email team@heavymusicawards.com or call 01277 356200.

Exclusive HMA17 Show to be Aired on Sky This Weekend

Highlights of the Heavy Music Awards 2017 are to premiere on Scuzz TV (Sky 367) on Saturday (September 16) at 9pm.

It will be repeated on Sunday, September 17, at 10pm.

The show will feature performances from headline act Creeper, Venom Prison, Vukovi and Dead! as well as appearances from the likes of BBC Radio 1’s Daniel P Carter and HMA winners Architects, Enter Shikari and Download Festival’s Andy Copping.

One of the on-stage features of HMA17 – which was sponsored by EMP – was the voiceover work of former BBC radio presenter Clare Reeves.

Clare’s dulcet tones announced each of the finalists at House of Vans London on August 24.

As a professional UK voiceover artist, Clare records a wide range of projects including TV and radio commercials, documentary narration, corporate videos, e-learning, museum soundscapes, audio guides, interactive voice response IVR and much more.

These top quality projects have been sent around the world to clients including Trivago, BMW, Deloitte, BBC, National Geographic, Hilary’s Blinds, Abu Dhabi Government and Unilever.

Clare is a BBC-trained radio presenter/audio engineer and an actor, passionate communicator and beachcomber.

The HMA team caught up with Clare to talk more about her fascinating work and mission to “bring your words to life”.

Q. Tell us about Clare Reeves and the work you do as a voice over artist (VOA)?

I’m Clare and I’m a Voiceover Artist. The wonderful thing about my work is the wide variety of projects and clients. My work includes voicing TV and Radio Commercials, TV documentary narration, Corporate productions of all kinds – from promotional videos, explainer videos for websites, phone answering systems, event announcements, exhibition stands to elearning! Then some days I work on museum soundscapes and audio guides and jingles for DJs / Podcasters.. I’ve even leant my voice to a dance music track and I’ve got an Art Installation coming up soon!

Q. What type of businesses do you work for?

All sorts, from global brands such as Unilever, BMW, Deloitte and Fox International Channels to UK based businesses, the NHS, charities and startups. I believe every business has a story to tell and a brand they treasure – using a professional voice is the best way to sound as good as you look.. businesses pay so much attention to their logo without sometimes thinking about what voice is on their answering system.. I think that is beginning to change and people are more aware of the power of a pro voice in an increasingly competitive world.

Q. You are one of the region’s leading VOA. How did you get into that industry?

I worked in the BBC for many years both sides of the microphone, as a radio presenter and also as a sound engineer at the BBC World Service. I used to direct the BBC’s TV Channels live on air and I’m a confirmed broadcast technology geek! I’m a total telly addict. I also have a background in acting with some theatre training. All of these things really came together for me after I had my son.. I wanted to build my own career, do something I loved that I could grow over the years. Voiceover isn’t just talking, it’s a hugely complex set of skills that all have to come together at a given moment to create the right thing. Some clients like to direct – others like me to direct myself. It’s about bringing words to life and giving them meaning as you lift them off the page. I train hard with a coach in LA and one in the UK as well. It’s vital to push yourself, to keep on top of current Voiceover trends (yes, there are trends) as it’s a very competitive business.

Q. How has being a VOA changed over the years, in terms of producing recordings and using technology?

Technology is ESSENTIAL for Voiceover Actors. I record most of my work from my own studio, at home, into Adobe Audition on my Mac – I edit and mix in the digital world and send finished files digitally as well. Clients also like to direct me live sometimes over Skype.. it’s all very current. It’s changed hugely since the days of having to go into a studio to be recorded on tape. Also in terms of how I find work and how work finds me.

Q. Tell us how, as a VOA, you use the Internet to connect with the public?

Most of my work finds me via the internet as well, and I use online marketing and social media a great deal too. I’m a little obsessed with Twitter.. it’s great for collecting contacts as well as keeping a profile amongst the public and clients. I endeavour to keep my website up to date with showreels and videos and news of what I’m up to. One aspect of the technology that can be overlooked is how wonderful it is to keep connected. As I say, I work largely on my own – it could be very isolating – but thankfully I have a fantastic network of friends in the business and we chat daily online, share stories and wisdom etc. It’s a bit like being in an office – well, the good bits!

Q. How can using a VOA enhance an event?

Events are exciting, they are an occasion. I think that participants and guests want to feel special at an event. By using a pro Voiceover to make announcements (we call it being “Voice of God” in the VO biz!) I think you are saying “we are serious, we are professional, we respect you and want you to feel special, this matters”. It also means that the brand holding the event looks good.. you don’t notice a great voice necessarily – you notice a great event and how you felt.

Q. If a business wants to use your services, what is the best way of connecting with you?

Pop over to my website clarereevesvoiceovers.com and send me a note via my contact form – I’m always happy to chat through what you think you need, provide a free sample and quote for you. Even if you have never worked with a voiceover before, I make things easy and help you out every step of the way.

Photo: James North Photography

Heavy Music Awards 2017 – Winners Announced

Architects, Black Sabbath and Enter Shikari were among the winners at the inaugural, public voted, Heavy Music Awards tonight (August 24).

Brighton five-piece Architects scooped Best Album for All Our Gods Have Abandoned Us, while legendary metal band Black Sabbath landed Best UK band in the year they wrapped up their farewell tour.

Reacting to their victory Black Sabbath guitarist Tony Iommi told the HMAs: “On behalf of the guys, many thanks for voting us Best UK Band.

“I’m sorry we can’t be there but no one is better qualified to accept the award than our old mate and long time supporter Andy Copping. All the best.”

Following that, the packed venue witnessed a powerful acceptance speech as Architects frontman Sam Carter dedicated the victory for ‘All Our Gods…’ to their much-missed guitarist Tom Searle.

Heavy Music Awards 2017 – with headline sponsor EMP – was presented by Kerrang Radio’s Alex Baker and Sophie K at House of Vans London.

Around the Awards horror-punk favourites Creeper headlined the live performances, supported by Venom Prison, Vukovi and Dead!

Fans of rock and metal chose Gojira to win Best International Band and Download Festival’s Andy Copping presented Best Live Band to Enter Shikari at the star-studded invitation-only event.

Best Breakthrough Band was won by US metalcore act I Prevail.

Live Nation’s Andy Copping had hit the stage earlier after it was revealed that the fan’s favourite in the Best Festival category was Download, while O2 Academy Brixton walked away with the 4.3kg metallic statue for Best Venue.

On an emotional night which celebrated the best talent on and off the stage across Heavy Music, respected photographer Ashley Maile was posthumously presented The H – a special recognition award presented for outstanding positive contribution to the heavy music scene.

Mr Maile – who photographed major rock stars including Slash, Ozzy Osbourne and James Hetfield – passed away in 2013 following a battle with cancer, aged 36.

Flying in from Sweden Henrik Udd collected Best Producer for his collaborations with Fredrick Nordstrom and Olympus presented the Best Photographer award to Ben Gibson.

The cover of the Ghost album Popestar – by Zbigniew M Bielak – won the public vote in the Best Album Artwork category.

Heavy Music Awards 2017 – The Winners

BEST ALBUM presented by EMP
Architects – All Our Gods Have Abandoned Us (Epitaph / Producers: Fredrik Nordström + Henrik Udd)

Ashley Maile

BEST UK BAND presented by UPRAWR
Black Sabbath


BEST LIVE BAND presented by Eagle Rock Entertainment
Enter Shikari

BEST BREAKTHROUGH BAND presented by House of Vans London
I Prevail

BEST ALBUM ARTWORK presented by The Pit
Ghost – Popestar (Zbigniew M Bielak)

BEST PRODUCER presented by Believe
Fredrik Nordström & Henrik Udd

BEST PHOTOGRAPHER presented by Olympus
Ben Gibson

BEST FESTIVAL presented by Jackson Guitars
Download Festival

BEST VENUE presented by Scuzz
O2 Academy, Brixton

The Heavy Music Awards 2017 was sponsored by EMP, House of Vans London, Scuzz, UPRAWR, PPL, Eagle Rock Entertainment, The Pit, Believe, Olympus, Jackson Guitars, BIMM, Cloven Hoof Rum and Rocksteady Music School.

Thank you to everyone who judged, voted or otherwise supported the HMAs in any way.

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