As dusk settled over Newcastle on October 16, 2025, a wave of anticipation swept through the city’s Utilita Arena. For the first time in its 33-year history, the Mercury Prize—Britain’s most prestigious music award—had left its traditional London home, instead shining a spotlight on the North East. The move was more than symbolic; it was a resounding celebration of regional talent and a statement that the UK’s musical heart beats far beyond the capital.
From early evening, Britain and Ireland’s top musicians gathered for a ceremony that promised to be as historic as it was glamorous. Lauren Laverne, Sunderland native and beloved broadcaster, took the helm as host, setting the tone for a night brimming with pride and excitement. The shortlist for Album of the Year was a testament to the diversity and vibrancy of the current music scene: from the genre-blurring sounds of CMAT’s Euro-Country and Fontaines DC’s Romance, to the familiar brilliance of Pulp, Wolf Alice, FKA twigs, and PinkPantheress. Folk legend Martin Carthy, at 84, made history as the oldest ever Mercury nominee, while the likes of Emma Jean Thackray and Joe Webb voiced their hopes that the event’s northern debut would inspire more opportunities for artists outside London.
“I think people are starting to realise that the music industry is not just about London,” nominee Emma Jean Thackray told BBC News. “It’s amazing that different places are getting some shine and I’m particularly happy that the Mercury Prize this year is in the North, being a Northern girl.” Her words echoed across the arena and through the city’s streets, where the excitement had been building since May, when Newcastle was first announced as the host city. Local politicians, musicians, and fans were “over the moon,” as ChronicleLive reported, to see Tyneside take center stage in the UK’s musical calendar.
The Mercury Prize Fringe, a series of performances leading up to the main event, further underscored the region’s creative energy. Middlesbrough country singer Finn Forster, who played to enthusiastic crowds, expressed his gratitude that the North East was finally being recognized. “Everyone is incredibly proud of the fact that the Mercury’s coming,” he said. “There’s such a high calibre of people coming. To be given an opportunity to perform for them at a fringe event is really, really exciting.” Young musicians, too, found inspiration in the festivities: the Mini Mercury Choir, comprised of schoolchildren from across the region, delivered a moving performance of Sam Fender’s “People Watching” at the Tyneside Cinema, a moment that Gareth Miller from the North East Music Hub described as opening doors for future generations.
As the clock neared 8:00pm, the arena buzzed with expectation. The event was broadcast live on BBC Four, with coverage beginning at 9:30pm and running until just before 11:00pm, ensuring fans across the country could witness the drama unfold. Before the coveted trophy was handed out, the audience was treated to live performances from the shortlisted artists, each act bringing their own flavor to the night’s proceedings.
Backstage, the bookmakers were in a frenzy. According to ChronicleLive, CMAT was the favorite to win, her odds sitting at 2/1, despite her absence from the stage due to postponed tour dates. Fontaines DC, riding a late surge in support, leaped from fourth to second favorite, their odds tightening as excitement mounted. Local hero Sam Fender, with his deeply personal album People Watching, was not among the top five in the betting, but the North Shields native had already captured the city’s heart.
When the moment of truth arrived, it was Sam Fender who emerged victorious, sending the arena into rapturous applause. His win, as reported by BBC News, was a triumph not just for himself but for the entire North East. Radio 1 DJ and judge Sian Eleri, who announced the winner, praised People Watching for “its cohesion, character and ambition,” declaring that it “will take pride of place in record collections for years to come.”
Fender’s performance on the night was electric, the Geordie crowd roaring their approval as he dedicated both his award and his eponymous single to his close friend and mentor Annie Orwin. Emotion overtook him at the podium as he paid tribute to Orwin and acknowledged the favorites CMAT and Fontaines DC in his speech, noting that the wait for the Mercury Prize’s first Irish winner would continue. He closed with a heartfelt declaration: “This region is the best region in the country.” The pride in his voice was unmistakable, and the audience responded in kind, their cheers echoing through the arena and out into the city.
The significance of the night was not lost on those in attendance or watching at home. For the North East, long overlooked by the industry’s London-centric gaze, the Mercury Prize’s arrival was a validation. As BBC arts reporter Sharuna Sagar observed, “The decision by the BPI to move the UK’s most prestigious music awards 300 miles north sends a clear signal: the industry is finally taking the North East seriously.” With local alumni like Maxïmo Park, Field Music, The Unthanks, and Nadine Shah, the hope was that the Mercury’s northern debut would “kick open the door for more homegrown artists to thrive.”
Chair of the British Phonographic Industry Yolanda Brown captured the spirit of the evening, telling BBC News, “It’s going to be a great celebration of the music of this year, focused on Newcastle and the celebration we are going to have. But to be moving out of London for the first time, this is how it’s done.”
For Irish acts CMAT and Fontaines DC, the night was bittersweet. Both were nominated for the first time—CMAT for Euro-Country and Fontaines DC for Romance—and both had been tipped as possible winners. Yet, as Sam Fender’s name was announced, the wait for an Irish Mercury Prize winner continued. Still, their presence on the shortlist marked a rare and important moment of Irish representation, signaling a broadening of the award’s scope and influence.
As the ceremony drew to a close, the excitement in Newcastle was palpable. The Mercury Prize had not only crowned a new champion but had also, perhaps more importantly, rewritten the map of British music. For one night, the North East was the beating heart of the nation’s cultural life—a place where dreams were realized and the future of music looked brighter than ever.
