Let’s face it, as soon as the realisation dawned that the 2011 Brit Awards was scheduled against Channel 4′s Big Fat Gypsy Weddings juggernaut, the music industry’s flagship event was always going to take a ratings hit.
So the live ITV1 show peaked with 5.9 million viewers, dropping to an average audience of 4.4 million and was seen by around 5 million people when plus-one and online viewing is added in.
Gypsy Weddings “triumphed” with 6.5 million whilst the Brits had its lowest viewing audience for 5 years, according to those who judge these matters purely in numbers. It’s disappointing given that Sunday’s Grammy awards succeeded in scoring that event’s biggest US TV audience in a decade.
But in credibility terms, the ”reborn” Brits has to be a bit of a triumph. From Beehive’s vantage point, wedged next to Katherine Jenkins in the O2 Arena floor dining area, the show rattled along with a pace and purpose that removed the longeurs of previous awards.
The extended O2 stage gave the performers a chance to do what they do best – perform, even if there was a curious reliance on dancing riot police. Take That’s storming performance of Kidz was firmly in the tradition of spectacular Brits opening numbers and the absence of contrived duets during the show wasn’t missed.
The corporate guests in the stalls could actually see what was going on, so Adele’s piano-accompanied performance of Someone Like You wasn’t drowned out by clinking glasses and chatter.
Presenter James Corden was wrong to describe Mumford & Sons performance as “brave” – performing an acoustic song is hardly grounds for a Military Cross – but for a big man his presentation was light on its feet and informed, without the kind of reverential awe on display at the Baftas.
Even if he did leave his cue card on Beehive’s table after interviewing Cee Lo Green: “Cee Lo you are the coolest mother forgetter in the room” with its poignant reminder at point 6. “REF his private jet”.
Giving the artists a say on the voting panel clearly influenced the rewards for Mumford & Sons, Laura Marling and Arcade Fire, suggesting a return to “roots” music. The Smiths and New Order received an unexpected shout out from Arcade Fire. There were no unscripted disasters.
Adele: hushed the industry liggers
And Cheryl Cole’s presence apart, the awards were handed out as if The X Factor didn’t exist, an indictment of that programme’s increasingly frayed claim to being the crucible of new musical talent.
Justin Bieber, looking out of place amongst the musical big boys, was the only concession to teenpop, which may have been a turn-off for younger viewers.
The biggest complaint of the night was that there was no Lady GaGa (she did the gig last year), or a Beyonce or Kylie to add some glam, leaving Rihanna to represent the “US megastar performing in her knickers” end of proceedings.
Getting 5 million ITV1 viewers to watch a prime-time music show featuring the likes of Arcade Fire and Marling could be seen as an achievement (there was also a massive Spurs game to lure away sports fans). Mumford & Sons might be million-sellers but they’ve only been allowed to appear twice on live UK TV shows - Later…and the Mercury Music Prize.
That, given the choice, more viewers opted to watch Holby City, is a problem for the whole of society, not just the music industry.
David Joseph, the Universal music boss, who overhauled the awards to restore some crediblity, believes that there’s a gap for a TV show somewhere between Later…and The X Factor. The accessible mix of pop, urban and rock and imaginatively-staged performances at the 2011 Brits could point the way forward for such a programme - were BBC executives watching? (the viewing figures for Outcasts suggest they must have been).
The Brits needs to hold its nerve for next year and possibly move the event away from the shadow of the film Baftas, which sucks up tabloid interest and the Grammys, which means persuading big stars to jump on their private jets straight after performing at the US show.
And to check that next year’s Brits doesn’t clash with Channel 4′s Big Fat Gypsy Funerals sequel.
I’m sure ITV executives will be over the moon that the Corporate guests had a great view. It’s all about the viewing figures and The Brits didn’t hit the mark.
A great show, and all credit to David Joseph. I would have retained the Lifetime Achievement – and placed it midway through the show. (Thus retaining Album of the Year as the final award). Having a long-established name would attract the more mature viewer. Roxy Music would have been an obvious recipient this year.
no doubt the low viewers were due to james corden presenting. many boycotted due to choosing such a rubbish presenter.
Great article mate.