Let’s Talk about the Heavy Music Awards – 2022

Celebrating their sixth year of appreciating the best of the best to conquer the collective psyche of the heavy music community; we couldn’t pass up the opportunity to trot on down to Kentish Town’s O2 Forum, for a night dedicated to redefining musical descents into intoxicating insanity, at the Heavy Music Awards.

Standing in line, we were greeted by Fireball reps passing out shot size bottles of their iconic libation & black tinted sunglasses; to be honest there was nothing funnier than watching Fireball virgins’ faces after its fiery depths hit their throats, before catching sight of the endless amount of bottles scattered on every available ledge, which left us pondering how many in the crowds would be clinging for those glasses come sunrise.

When we finally arrived inside away from the grey and the threat of a downpour; the buzz in the air was truly tantalising as the crowds below wafted closer and closer to the stage. With the familiar bangers of yesteryear, provided by Kerrang’s very own Jon Mahon echoing across the entire auditorium throughout the night, the ever building anticipation of a full scale blast-centric wall of sound protruding from Static Dress’ opening set, resembled a palpable frenzy on the verge of a beautiful disaster. And as the official openers of the show, they definitely didn’t disappoint.

As soon as Static Dress entered the stage, they made it very clear their intentions were to make us bear witness to a euphoric audible barrage of gargantuan proportions. No one was safe from the volatile rumblings, not even their lead singer Olli Appleyard’s own mic due to them slamming it against the stage at the height of their enrapturing performance.

Providing some heavy hits to the system, yet creating a soothing air around their stint on the stage; Meet Me @ The Altar followed Static Dress’ abrasive thunder claps with a jubilant balancing act between easycore artistry and some golden era of pop punk gems, with a mix of original material and a medley of covers including Lit’s pre-millennium fan favourite ‘My Own Worst Enemy’.

With Meet Me @ The Altar ending their set on a high with eyes primed for the ceremonial festivities, the first few winners were announced.

Best Podcast

On Wednesdays We Wear Black took home the Best Podcast Award to an ecstatic crowd, as the co-hosts Sophie K & Yasmine Summan spoke on the importance of representation in the media.

Best Album Art

Beating out some stiff competition including Architects, Employed To Serve & The Offspring; Trivium’s – In The Court Of The Dragon, which was created by the LA based Romanian fine art oil painter, Mathieu Nozieres won Best Album Art.

Best Breakthrough Artist

In a strange twist of Rock N Roll kismet; last years winners WARGASM, who we have to say arrived in magnificent fashion – Sam Matlock in a casual suit lined with the repeated message “suck my clit” & Milkie Way in what we’re assuming resembled a beautiful white Diana Ross wig, came to the stage screaming “Fuck The Queen” and joking about last years ‘Nipplegate’ controversy. They accidentally overlooked presenting the nominees – later confirmed to be technical difficulties as they shouted them out on Twitter – and went straight to announcing that this years winner, was none other than last year’s presenter for the same award – Cassyette.

Best International Artist

The evening’s headline act Beartooth beat out the likes of A Day To Remember, Spiritbox and Lorna Shore to name a few, for Best International Artist.

Best UK Artist

Taking on a plethora of musical titans; the Brightonian metalcore aficionados Architects hit big with their win for Best UK Artist.

And just like that, the first part of the awards show was over. Thankfully to keep the hype in check and positively shake our world into submission, it wasn’t long before the Welsh post-hardcore supernovas Holding Absence graced the stage.

At times literally fly-kicking off their set, their brilliant ability to up the intensity on a whim is second to none, with an audible experience so powerful that it felt like a continuous burst of lighting strikes hitting the audience at any given time. It’s more than fair to say that they gave anything and everything they had, while leaving the majority of us either frozen in amazement or clambering our way to the eye of the mosh pit, that seemed to grow with each and every track.

By the time their set had been and gone, the distinct need to settle an onset of palpitations was very much needed as we commenced the final part of the night’s roundup of newbies to the HMA’s winners circle.

Commencing the second half with an all new award, inspired by the astonishing extra lengths the winners went to keep their band alive, in a time of international crisis.

The Innovation Award

To say that While She Sleeps deserved recognition for the feats they crushed in the midst of the global pandemic, would be a vast understatement – hence why this award was considered in the first place. Their outstanding commitment to music and the community at large will go down as a teaching moment for all artists in the industry regardless of genre, height of their fame etc. which is why this award is so well deserved.

Best Production

Bullet For My Valentine’s Carl Bown was victorious for their work on the band’s self-titled LP for Best Production, beating out Spiritbox & Trivium.

Best International Breakthrough Artist

Walking away a winner in a category rife with all fast rising stars in all their respected lanes; the incredibly humble KennyHoopla took the win for International Breakthrough!

The H Award

This year’s annual award for the most significant contribution to the scene went to the Heavy Metal Truants, whose now international foundation has raised over £4.7 million for several charities, including the HMA’s favourite charitable organisation – Nordoff Robbins.

Best Live Artist

Returning to the list of awards since the start of the COVID pandemic, this year’s Best Live Artist Award went to the Hertfordshire alt rock giants and fan favourite dissenters Enter Shikari.

Best Single

In a category stacked with fan favourites including Architects – ‘Meteor’, Spiritbox – ‘Circle With Me’, Holding Absence – ‘Afterlife’ plus many more being greeted with a fervent roaring chorus , the ultimate prize went to multi-Heavy Music Award winner Bring Me The Horizon for ‘Die4U’.

Best Video

Electric Callboy secured their first ever win at the HMAs with their hilarity inducing video for ‘PUMP IT’, which was directed and produced by brothers Pascal & Oliver Schillo.

Best Album

And finally, the ever coveted Best Album of the Year Award went to For Those That Wish To Exist by Architects. Which became the band’s 3rd time winning Best Album since the Heavy Music Awards began in 2017.

Closing the show in what can only be described as a particular brand of colossal mental shakedown, that leaves you unable to function for days on end; the Columbus melodic hardcore agitators Beartooth, made it pretty much impossible for anyone in earshot to turn a blind eye from such unrelenting abrasiveness piercing through our eardrums. The sweat of those in the stalls who instigated the many circle pits and walls of death across the night, seemed to perforate the air as the balcony seemed to shake uncontrollably due to the sheer savagery bursting out of the speakers.

To end what felt like the crowning glory to a night steeped in respect for all things subversive; Beartooth treated those in attendance to an epic instrumental outro that lead their lead singer Caleb Shomo, shredding on his guitar in the middle of a wall of death that carried him back to the stage, where he was left glaring at an entire venue on their feet awe-struck by the spectacle that unfolded before them.

All in all, we can’t wait for next years celebrations of all things hot, heavy and awesome.