Behind The Scenes At The 2024 ARIA Awards

Once again, the Australian music industry is celebrating the local music scene across 29 categories over a five-hour extravaganza.

In its 38th year, the ARIA Awards have given us many memorable moments, but how would things pan out in a year that has seen the local live music and festival scene decimated while the international touring scene is surging? Even though there are some amazing Australian success stories, the chance of making it seems tougher than ever.

The carpet, abuzz with colour, glitter, and a fair bit of sweat, was its usual chaotic self, with multiple photo ops, a stack of media, and a big blue dog. As usual, the bigger names like Troye Sivan and Missy Higgins were whisked quickly through, but it offered time for up-and-coming artists to share their excitement with the waiting journalists and fans, who were given a chance to experience the carpet in a ‘Super Fan Zone’.

In a year with a record 22 First Nations nominated artists, it felt right that the first two awards were for Indigenous acts. The first ARIA Award of the night was deservedly given to 3%’s Kill The Dead album cover, painted by renowned artist Daniel Boyd and based on the famous photo of Nicky Winmar pointing to the colour of his skin. The second was awarded to JK-47 in the Best Use of an Australian Recording in an Advertisement for the use of his song, Sun Safety, in the Cancer Council campaign.

It was a significant and important start to the evening. Two other awards were given next: Mildlife won the Best Jazz Album for Chorus, and Sophie Hutchings claimed the Best Classical Album gong for A World Outside.

In a theme that fits the time-warp of the day, dinner is served at 4 pm in the famed Hordern Pavilion. There is no sign of Red Rooster this year, but there are plenty of options to satisfy the cravings of the industry. For the photographers and media, the back room is a tangle of cameras, cords, chargers and snacks. Glamorous? Not so much, but definitely a chaotic vibe!

Amy Shark, a four-time nominee for the night, performed a mash-up medley of Two Friends and Beautiful Eyes before we were introduced to the host, Nova radio presenter Tim Blackwell. In true ARIAs fashion, some of the big nominees for the night, Royel Otis and Dom Dolla, were, as you’d expect, not in the country. It may make for awkward interviews and acceptances, but it’s a good sign of the state of their careers.

Best Independent Release contained a selection of brilliant up-and-comers. However, Angie McMahon won with her album Light, Dark, Light Again, the first of her five nominated categories. This was a deserved victory for a brilliantly evocative and personal album.

Fanny Lumsden was given the chance to present the Best Country Album award. Although it wasn't Dolly Parton presenting it this year, she ably awarded it to the legendary Troy Cassar-Daley, his sixth ARIA Award for his fourteenth album, Between The Fires. His speech told the heartwarming story of his mother and the making of the record before declaring you can be an “old bloke” and still make it in the biz.

Phil and Pat from Grinspoon awarded the Best Video award to Tones And I, Nick Kozakis and Sela Vai for her Dance With Me video before CYRIL, Becca Hatch, and Budjerah as well as a full eight-piece string section and orchestra performed CYRIL’s cover of Stumblin’ In. Bringing in a slew of artists to perform tracks would become a habit of the evening.

Best Dance/Electronic Release was realistically a battle between heavy-weights Confidence Man, Dom Dolla and Rüfüs Du Sol, with Dom Dolla taking the gong for his track, Saving Up, accepting the award from the UK, where he is currently touring.

Ava Max was the first international artist to perform. The artist, with over 50 billion online streams, performed a four-song mash of her tracks Spot a Fake, Kings & Queens, and Sweet But Psycho.

Best Group is a big award with great diversity of artists nominated, including 3%, Hiatus Kaiyote, Royel Otis, Rüfüs Du Sol, and SPEED, covering a wide range of genres. Royel Otis picked up the award and thanked people in a pre-recorded chat from a Ferris wheel in Belgium.

Best Adult Contemporary Album was awarded to the wonderful Emily Wurramara for her album NARA, which might be the Anindilyakwa word for “nothing” but is an album that has catapulted her into everything, not only a triple j Like a Version, but national acclaim for her beautiful and head-turning vocals, lyrics and production.

The Best Hard Rock/Heavy Metal Album category, showcasing a genre that has been looking for a poster band for a while, has been handed SPEED, whose debut album, Only One Mode, has launched them to international recognition as well as an adoring local audience, particularly in their home town of Sydney, pushing their record to the top 10. Their journey will be one that we will get to watch with interest from the beginning.

One of the most wholesome awards of the night is the ARIA Music Teacher Award, and in a touching moment, Nathaniel Miller accepted the award for the work he does at Bulman School in Arnhem Land. Nathaniel has been teaching students a range of instruments and performing in English, Dalabon, and Rembarrnga languages.

The Kid LAROI, in the midst of a national tour, gave the audience a taste of what they’ll see in Perth tonight before he introduced the Best Group nominated trio, 3%, who performed a medley of Won’t Stop with Jessica Mauboy, giving a killer performance of one of the songs of the year before Julian Hamilton from The Presets joined them on stage, along with a slew of dancers for a bristling performance of My People. 

Returning to the stage straight away were Nooky, Dallas Woods and Angus Field from 3%, accepting the award for Best Hip Hop/Rap Release for Kill The Dead. “Our people were told we shouldn’t have a voice, but it looks like they fucking do,” Nooky declared in a raw and powerful speech that deserves recognition. 

Troye Sivan, after a huge 2023 ARIAs, returned to the winner's circle, claiming the Best Pop Release for his release Something To Give Each Other, which has continued to blow up even a year after its release.

“Christian Wilkins and his dad” arrived on stage to present the Best Children’s Album to Bluey’s Dance Mode album, the brand showing it can conquer all forms of media, but despite appearing on the carpet, no big blue dog appeared on stage!

Chris Collins picked up the Best Engineered Release award and Best Produced Release for his work on Royel Otis’ Pratts and Pain, who, in effect, picked up their second and third pointy trophy of the night. Collins has worked on releases by Middle Kids, Gang of Youths, Ruby Fields and Gretta Ray and is certainly going to be even more in demand after this!

In keeping with tradition, the Michael Gudinski Breakthrough Artist Award was awarded by the triple j Breakfast Team of Concetta Caristo and Luka Muller. Maybe not as hilarious as the old Tom and Alex days, but they diligently awarded the prestigious prize to Teen Jesus And The Jean Teasers, who have seen their star rise straight up in the last year supporting Foo Fighters and Pearl Jam as well as touring overseas, attracting a huge new fan base. “We started the band after watching School of Rock at a sleepover,” they gleefully announced, accepting their prize.

Best Soul/R&B Release was a hotly contested category, but Tkay Maidza was a deserved winner for her second album, Sweet Justice. The teary artist appeared on stage to thank her family and label. “Music is my escape, so thank you for accepting me,” a very emotional Maidza shared.

In a country triple-hit, we were entertained by Troy Cassar-Daley, Kasey Chambers and American buzz country artist Kane Brown before Emily Wurramara presented the Best Blues & Roots Album to Mia Dyson for Tender Heart—a reward for her first solo album in six years that follows on from the first time she won in 2005 for Parking Lots.

The Best Original Soundtrack or Musical Theatre Cast Album went to the soundtrack for Faraway Downs, which featured artists Budjerah, Matt Corby, King Stingray, Miiesha, and Electric Fields. Budjerah, the nicest human in the world, accepted the award as the “various” representative.

In accepting the Best World Music Album for his album Warrangu: River Story, the gracious Dobby declared, “This thing is heavier than I thought it would be.”

Earlier award winner and multi-nominated Angie McMahon performed her track Letting Go, proving that she really can rock it up when she wants to. The song builds up to a huge climax of “It’s okay, make mistakes!” which could certainly be relevant for many later in the evening.

This led perfectly into the Best Live Australian Act category, celebrating the best part of making and listening to music, the live part. Missy Higgins, who is celebrating twenty years since The Sound Of White, claimed her tenth ARIA Award for The Second Act Tour 2024. “It’s the rawest, most vulnerable thing I’ve ever released,” she admitted before sharing the award with her band, who joined her on stage. “They’re a bunch of amazing fucking human beings!” Oh, but it won’t be the last time we catch up with Missy.

Bernard Fanning and Paul Dempsey continued on stage to present the Best Rock Album award to Royel Otis, who again thanked their crew from the Ferris wheel that “never ends,” as host Blackwell quipped.

“I think they thought I was Troye Sivan,” joked Daniel Seavey to screaming from the crowd before announcing the publicly voted Song of the Year award to G Flip for The Worst Person Alive. The artist would later hold another of their own after-parties after the success of last year’s bash. They thanked their rowdy table of family and friends as they accepted their third ARIA.

Rumours and speculation had been swirling over who the ‘Secret International Act’ would be at the ARIAs, and it was revealed by the band that had been supporting them and Pearl Jam on tour, Teen Jesus And The Jean Teasers. Pixies performed their classic Where Is My Mind live as they prepared to play Sydney the following night.

“Look at moiiiii!” The iconic Magda Szubanski was chosen to introduce Missy Higgins to the ARIA Hall of Fame. The artist was a brilliant choice, evident by the story broadcast to the room.

There’s a reason Missy Higgins is one of the most adored artists in this country: she is so extraordinarily nice. “Some of you I have been touring with for over 23 years,” she admitted and judging by the silence in the room, they were all listening with respect to an artist that has come all the way from a teenager with a demo, triple j Unearthed winner (”triple j became my champion”) and international touring artist.

It’s her authenticity and raw songwriting that has carried her through her career, and she thanked her label for their support, “They’ve allowed me to be authentic and follow my instincts, at no point did I feel you were trying to fit a triangle into a circle”.

She went on to bemoan the state of the ARIA Charts in this day and age and the lack of local artists appearing. “We’re seeing less and less of our own songs on our own charts.” Here’s hoping her comments are heeded, and local content is prioritised in this country, particularly on the radio.

As the pointy end of the pointy trophy award night neared, G Flip and Jet’s Nic Cester presented the Best Solo Artist award to Troye Sivan, picking up his sixth career ARIA Award and thanking his fans, label, producers and creative team. His gracious speech, maintaining him as one of the friendliest and kindest artists in the biz, was wholesome and smile-inducing.

The final award of the night was Album of the Year, and judging by the awards that had already been awarded, it seemed inevitable. But would it be Sivan or Royel Otis? The big award ended up going to Troye Sivan, who returned swiftly with a shocked, “What the hell!”

Sivan was obviously surprised to be called up immediately, but he told a great story of the person who led him to create his third and award-winning album, Something To Give Each Other. The individual, a “random hook-up”, would go on to be the inspiration of the record. A serendipitous meeting later meant the artist would have to admit that the album was about them, but in a gorgeous full-circle moment, the inspiration said that the album was “getting [him] through the breakup.” 

As the night headed to its conclusion, host Tim Blackwell, who did an excellent, albeit safe, job, introduced Missy Higgins, the newest Hall of Famer, to close out a successful evening. Her performance was a gorgeous medley of old and new songs, including Amy Shark, Gretta Ray, Angie McMahon, G Flip, and Higgins’ all-star band. 

It was a beautiful end to a successful night of celebrating the best in the Australian music industry. No, the industry isn’t perfect, and there is a long way to go in ensuring more Australian music is listened to in this country, but nights like tonight are still so important in ensuring that, for at least one night a year, Australian music is front and centre.