During this year’s Women In Music Awards, we inducted trailblazing industry executives (including one posthumous award) into the Roll Of Honour, in association with TikTok.
They join a huge list of previous honourees, including some of the leading names from across the business like Kanya King, Sarah Stennett, Emma Banks, Christine Osazuwa, Rebecca Allen, Stacey Tang, and Mary Anne Hobbs, who have been selected since the awards began in 2014. The Roll Of Honour aims to shine a spotlight on the variety of individuals who are leading the charge in the music industry and consistently using their platforms to support women, or focus on empowerment and gender disparity.
Following the Women In Music Awards ceremony, Music Week is running Q&A interviews with all of this year’s Roll Of Honour inductees.
Fran Matthews is director of awards at The Ivors Academy, the UK’s not-for-profit professional membership association for songwriters and composers.
She joined the Academy in 2005, following a career in art and antiques. Initially focused on delivering membership services, she has led the Academy’s awards activities since 2008, overseeing both the Ivor Novello Awards and Academy Fellowships.
During this time, Matthews has expanded the reach of the awards, increasing both genre recognition and audience. She led the transition of the Academy’s classical awards into the Ivor Novello brand, ensuring parity and raising the public profile of classical composers and sound artists. As a result, Ivor Novello Awards are now presented twice a year at prestigious events.
Committed to fair, transparent and inclusive processes, Matthews overseas all aspects of award giving from rules and categories, the curation of judging panels to chairing each award category jury. A member of the Academy’s Senior Leadership Team, she also manages key relationships with talent, stakeholders and sponsors, while producing each awards show to ensure they continue to be the world's leading celebration of songwriters and composers in the world.
How do you feel about joining the WIM roll of honour?
“Honoured, grateful, overwhelmed, proud! I love celebrating people, if I didn’t, I’d be in the wrong job! To shine a light on someone’s achievements, to encourage them and let them know they are seen, there is something powerful about that, both for them and for those who follow in their footsteps.”
How do you look back at your early years getting into the industry?
“I entered the industry through a traditional route – I answered a job advert. I hadn’t worked in music before, and I’ll be forever grateful to those who gave me that first job because it’s informed so much of my life since. But it was interesting coming from a different sector, because what struck me the most was how male it was. There were loads of women working, but when you looked at the decision makers, the spokespeople, they were all male. Even the Academy’s Board only had one female director. And there was this dominant legacy in British songwriting and composing that was male too and that was quite shocking. Things have changed of course, and I know bringing about that change has been difficult for some of those actively involved. At the Academy, to now work with a board and senate of diverse voices and lived experience is so enriching, both personally and for the organisation.”
Did you have a mentor at any stage?
“There are several people who have been generous with their time and expertise over the years, Claire Jarvis and Jenny Goodwin in particular. To share what you’ve learnt is such a gift so I’m very grateful to them. I also had independent coaching when I was professionally stuck and couldn’t see a way forward. It was transformative, so if it’s an option, I would encourage anyone to try it.”
In 2008 you began leading The Ivors Academy’s presentation of Ivor Novello Awards and Academy Fellowships, and have been there ever since. Why is the organisation’s mission to support songwriters and composers a topic which is so close to your heart? How vital is that mission in this day and age?
“The music industry is built on the talent of songwriters and composers, that’s a fact. They are at the centre of the creation of music, and without the composition there aren’t any recordings, live concerts or any rights to manage. Like so many people who work in music, my passion started with a formative experience. And that was being given a free school instrument after my dad died when I was 10. The escape and connection of playing music transformed me. And the music I played, songwriters and composers crafted it. So for me, to work in support of them is a privilege. And ultimately, their role in the creation of music isn’t valued appropriately by the industry or those profiting from it and that is why the Academy’s mission is so vital today. We are a democratic, member-led organisation so we speak with a dedicated and authentic voice. Collective action is immensely powerful. You really can achieve more as a collective voice, rather than as a lone one.”
Do you think the industry at large is taking positive steps towards fair remuneration for creatives? What can be done to improve the situation?
“We’re at the table with the government addressing the issue of fair remuneration for all creatives. And more specifically for songwriters and composers because we need to create a more sustainable future for them in the streaming age.”
Where do you stand on the impact AI will have on the careers of creatives?
“It's good to separate tools and generative models when discussing the impact of AI. Creatives have used AI tools to explore their creativity for years and long may that continue. Our number one ask around generative AI is that all creators must give explicit consent for their work to be ingested into models, and if they do, they must be credited accordingly.”
What do you think this year’s Ivor Novello winners said about British songwriters? Do you see any particular trends appearing?
“They reinforced my long-held belief that this country has some of the finest and most original songwriting voices. That authentic storytelling, be it through words or music, is undeniable in its ability to move and captivate. An Ivor Novello is peer recognition; no one involved in the decision making is going to profit from the result. So when a panel collectively says, ‘This is our winner’, you know it’s because the music those winning songwriters have crafted has blown them away. From Raye to Kae Tempest, Dave to Yussef Dayes, these are songwriters defying genre boundaries to create music that is truly exceptional.”
What’s your biggest achievement so far?
“I’d have to say leading the Ivor Novello Award projects to where they are today. They’ve grown in respect, relevance and global impact and that means the spotlight on songwriters and composers, of all genres, is brighter. I’m proud of my role in that.”
What advice would you offer young women about enjoying a successful career in music?
“Find your passion and if you can, run towards it. And find your network, it can be organised or not, because there is nothing more valuable than talking through your challenges with peers.”
What’s the best advice you’ve ever had?
“Check your inner monologue. If you’re prone to self doubt it can be extremely destructive.”
Is there a young woman you’d like to shout out who you think is a rising star in the industry?
“I’m immensely proud to lead an all-female awards team at the Academy. They are the most dedicated, focused, passionate and compassionate women; each one is a rising star in my eyes. So I know it’s cheating but I’m going to name three: Cindy Truong, Tilly Flynn and Kate Spiers.”
Similarly, is there a young woman artist whose music you’re enjoying right now?
“I’m excited for Victoria Canal’s debut album early next year. She’s had such a wonderful relationship with The Ivors, from winning our Rising Star Award to picking up Best Song this year, but before all that I remember being blown away back in 2022 by her performance of Swan Song on Later…”
Finally, what’s your biggest lesson from 2024 so far?
“You never know when something positive might happen to you!”
