Surprise AMP winner

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Lisa Mitchell was awarded 2009 Australian Music Prize at an awards ceremony held at the Museum of Contemporary Art in Sydney earlier today.

Mitchell’s debut album, Wonder, was the judges pick from a field of nine shortlisted artists including Kid Sam, Black Cab, Oh Mercy, Bertie Blackman and one of Mitchell’s main influences, Sarah Blasko.

She is the first female winner of the $30,000 prize; following the distinctly blokey parade of earlier winners – The Drones, Augie March, Mess Hall and Eddy Current Suppression Ring.

Following last year’s awards Sydney Morning Herald music critic Bernard Zuel quite publicly bemoaned the lack of female nominees that had been included on AMP shortlists over the years, so he was surely pleased when judges Deborah Conway and Holly Throsby announced Mitchell had won .

The awards also featured live sets from Oh Mercy, who won the AMP Red Bull Award in recognition of their “outstanding potential”, Perry Keyes and Washington. Street Press Australia’s Leigh Treweek provided the highlight of the event with an impassioned speech championing the need for a national system to protect live music, before a sadly uninspiring deflection from the Federal Minister for the Arts and Global Member for Midnight Oil, Peter Garrett.

Mitchell is currently overseas on tour, but accepted the award via video link up from a cold and wet field somewhere in the UK. She’ll be back in Australia very soon for a national tour and a few celebratory drinks.

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Comments

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grattan

grattan said on the 23rd Mar, 2010

AMP judge Clem Bastow responds in [URL="http://www.crikey.com.au/2010/03/23/the-secret-to-lisa-mitchells-amp-success-the-music-funnily-enough/?source=cmailer"]Crikey today:

"For an award that many of Australia's rock cognoscenti and armchair critics claim not to give a rat's arse about, the announcement of the Australian Music Prize winner -- Lisa Mitchell's Wonder -- last week certainly inspired a lot of passionate blogging...

"There's a playfulness to Wonder, coupled with the poignant openness of her lyrics, that is utterly captivating; her arrangements, thrown together in a haphazard manner, feel new. Blasko has also made a beautiful album, but its beauty has a glassiness that is distancing, and the arrangements -- while glorious at times -- draw deeply from a pop wellspring that reaches back through Joni Mitchell and beyond. To suggest that As Day Follows Night in some way broke new ground is off the mark; instead, it revisited old ground in a beguiling way.

Who cares, though? All nine albums in the shortlist made it there because they all had the potential to be deemed the year's best; at the end of the judging session, it was Mitchell's album that was voted the best of the best.

This is how, as mindblowing as it seems to be to some, a record that “barely factored into [the judges’] personal recommendations at all”, as Ash put it, ended up winning, and how Blasko “lost”. One record revealed its strengths to more of the judges, and others’ diminished with more time spent examining them. And despite True’s deeming the result as a collective failure of critical thought, it’s worth noting that the critic/journalist portion of the AMP judging panel is outnumbered by artists and music retailers.

There’s so much for people to complain about in Mitchell having been announced as winner that the detractors must have clapped their hands with glee at the result: she’s female (tokenism!), she’s young (she hasn’t paid her dues!), she was once on Australian Idol (hurting our artists!), and she made a pop album (that’s not real music!).

But the most important factor in Mitchell’s having won the Australian Music Prize is the one that is so frequently forgotten in the maelstrom of such invented “controversy”: her music. If more people actually listened to it, we likely wouldn’t be having this conversation, but imagining a day that will happen is truly a thing of wonder."