So how will it be next week? I could no longer produce it, even if asked, as I am really, finally, not au fait with current music. But will this year have great music in it? Will it be ground breaking, original, clever, entertaining TV? Don't expect Theresa to be brought into it as I featured Maggie crooning How Much Is That Doggy In The Window (a moment with so many sub texts it remains one of my greatest personal artistic triumphs in a career dotted with such moments, mostly unnoticed except by myself).

Don't expect bands like Carter USM to appear, as they did during my era.

Don't expect KLF with Extreme Noise Terror and machine guns.

I had fun reviving The Brits as I had fun for my entire career. If you've never watched Vile Pervert; The Musical, do try it on www.VilePervert.com

I sometimes think I've been critically under rated.

Any backstage gossip or comments on watching - feel free to post here.

Open with Little Mix who seem to have nothing to offer to music though a great deal to offer the underwear industry.

Why were they performing in a Dr Who Aerobics class?

I'm sure that KLF could do with the cash, seeing as they burnt £1 million of their own in a field near Ripley as an anachic stunt!

No backstage gossip at all? As for the show; I kept switching over during the numerous silly breaks and ended up watching most of the India Hotel on BBC (and Lionel Blair's distended tummy). The Chris Martin version of a George Michael song was well done though the spoken tribute before was too long and mawkish. I've never been able to understand the appeal of Robbie (neither has the rest of the world). What were those pink comments over 1975 about? Witty and self deprecating? Generally; another typical Brits from the generation that ignores TV having to entertain millions of non music lovers; plus the same old format not adapted to the change in tastes and importance of music and failing to understand the effects of superficialization. And how irritating are commercials every five minutes?

And a question - why do bad TV makers thing the solution is to cram as many people onto a tiny screen as possible? It doesn't work on TV (and between you and I - not in person either these days. Less is more as Ed Sheehan showed).

As I posted in the wrong place
Here we go
The Katie Perry political statement had to be explained YAWN.

Robbie Williams lacked a little.

Bruno Marrs a polished performance but a little self indulgent.

The 1975. who?, bad man really bad.

"Hello, I'm Addewel", loved everyone very American.

Little Mix, still look like school kids.

Simon Cowell looked lost and Nicole pissed as a fart.

No dramas no excitement the ones we lost last year dominated by George Michael and very sad to listen to Andrew Ridgely along with Pepsi and Shirley eulogies brought a tear although I hid that.

MWTW wrote:
As I posted in the wrong place
Here we go
The Katie Perry political statement had to be explained YAWN.

Robbie Williams lacked a little.

Bruno Marrs a polished performance but a little self indulgent.

The 1975. who?, bad man really bad.

"Hello, I'm Addewel", loved everyone very American.

Little Mix, still look like school kids.

Simon Cowell looked lost and Nicole pissed as a fart.

No dramas no excitement the ones we lost last year dominated by George Michael and very sad to listen to Andrew Ridgely along with Pepsi and Shirley eulogies brought a tear although I hid that.

Andrew Ridgely looks very ill and orange like a pumpkin.

Andrew has looked like that for many years now.

Oh and of course COLD PLAY,,, Vocals on the George Michael tribute, Wrong key, out of tune he never had the vocal range at all to keep up

JK2006 wrote:
The Chris Martin version of a George Michael song was well done Chris was horribly out of tune.

JK2006 wrote:
I've never been able to understand the appeal of Robbie I kept one eye on Twitter throughout the show and 99.9% of the comments were hatred for him and his new music. The other 0.1% were admiration, posted by himself. He manages to get on everything, his team are quite amazing.

JK2006 wrote:
What were those pink comments over 1975 about? Witty and self deprecating?What people had said about them over the years, a kind of a "we showed you" thing.

General opinion of The Brits was that they reflect the dull and boring music world at the moment. No stars, no magic, very few great cross over hits.

I wasn't at the show this year but saw it streamed.

I truly don't understand why Katy Perry was there. She melted down vocally in humiliating fashion at the Beatles tribute after the Grammys last year in front of everyone in music, and yet they keep letting her perform on air at these shows.

Although I have great sympathy for Andrew Ridgeley and his band-mates regarding the death of George, the spoken thing just stopped the momentum of the show cold. That is the fault of the TV executive producer. Letting that happen was an amateurish mistake on a show going out to millions. That had to be well rehearsed, so here is no excuse.

I thought the Chris Martin performance was pretty good notwithstanding that he can't sing like George Michael. But who can?

I thought Dermot O'Leary was good.

The BPI has done away with the Producer Brit Award this year after a row with the MPG on how it is voted for. This is absolutely absurd, wrong, and needs to be corrected for next year.

I would much rather see 3 minutes of video on the five best producer nominees and then an on air presentation of the award, than see a tired Katy Perry yell off-pitch and dance badly.

No juice from any of the parties either, sorry but it seemed like a rather dull night.

JK, do you know why every "music legend" is forced - dead or alive - to duet with the mediocre and extremely tiresome Chris Martin & Coldplay?

This article from the New York Times says it all for me. I was there (for my 28th Brits) and it won't be one I remember. (I was at all of the JK-produced shows at the Dominion and Hammersmith Odeon):

British music really sucks right now
By Hardeep Phull February 23, 2017


The Brit Awards are supposed to be a night when the British music industry can proudly show off its brightest, most colorful stars. Instead, Wednesday night’s ceremony felt more like a continual wash of gray that made the recent Grammy Awards look like a four-hour Michael Bay production by comparison.

Out of all the acts on display, the only one really worth paying attention to were the 1975, and if you didn’t, the Manchester quartet forced you to. After winning their award for best British group, they took to the stage to perform their gloriously catchy hit “The Sound” (from the Billboard No. 1 album “I Like It When You Sleep . . .”) and took the opportunity to sabotage their own slot, by having the broadcast cut away from the song to display some of the many criticisms that have been thrown at them. “Punch-Your-TV-Obnoxious” read one, while another opined that they were simply making “robotic Huey Lewis tunes.”

Many viewers mistakenly thought that the show had been hacked by a rogue 1975-hater, but it was in fact a replication of the track’s video. More importantly, this subversive moment was the only time during the painfully boring and predictable ceremony that viewers couldn’t be entirely sure what was happening.

It is no accident that the group is lining up a collaboration with London grime emcee Skepta — whose own performance was a rare bright spot of the night. Beyond that, there were slim pickings, as has often been the case in the Brit Awards’ recent history.


Emeli Sandé’s coffee-table soul blustered, but left no mark. Ed Sheeran played his two new singles, “Castle on the Hill” (a barely palatable dilution of his love of Springsteen and U2) and “Shape of You” (another one for the ever-increasing pile of dancehall-inspired knockoffs). The UK’s recent breakout star Rag‘n’Bone Man thankfully spared everyone his bland, gravel-voiced soul, but did bore the arena with a mind-numbing anecdote about his cat, and showed that he has about as much charisma as the statuette he received.

Even the so-called “icon” of the night couldn’t lift the gloom. Robbie Williams (an undistinguished member of ’90s boy-band Take That, who went on to become an undistinguished Frank Sinatra tribute act) was wheeled out for a croaky medley of tracks from his latest album. As if aware of his own shortcomings, he at least tried to inject a laugh. “Come on, the Brits, it’s nearly over. You can nearly go home!”

It’s true that the Brit Awards only showcases the most successful acts, so it shouldn’t be considered the definitive survey of everything the UK has to offer. But in recent years, this elite crowd has become markedly milquetoast, and consistently overshadowed by its American and Canadian counterparts.

On Wednesday, it was the solid-if-unremarkable performances by Bruno Mars and Katy Perry that seemed far more fun and interesting. In 2016, The Weeknd, Rihanna and Drake stole the show from the like of James Bay, Jess Glynne and Adele. And in 2015, the spectacle and bombast of Kanye West and Taylor Swift, quite frankly, wiped the floor with Sam Smith and George Ezra.

Whatever weak tea they’re drinking over there just isn’t cutting it anymore, because as the Brit Awards has shown, the current wave of British-pop mediocrity is reaching epidemic proportions.

Thank you Dixie - and the tragedy is - so easily solved. If I still held a senior position in the world of music (and was a bit younger, with better ears than these ancient ones) I would produce an annual spectacular show that got massive ratings and interested billions - not millions - in great music (which is still being made). And I would fund and construct a weekly music show that was like Top of the Pops 2017 (NOT 1965) on mainstream terrestrial TV as well as another daily different show for online, free access.

The entire industry would be revived.

But, at 72, what do I care?

JK2006 wrote:
Thank you Dixie - and the tragedy is - so easily solved. If I still held a senior position in the world of music (and was a bit younger, with better ears than these ancient ones) I would produce an annual spectacular show that got massive ratings and interested billions - not millions - in great music (which is still being made). And I would fund and construct a weekly music show that was like Top of the Pops 2017 (NOT 1965) on mainstream terrestrial TV as well as another daily different show for online, free access.

The entire industry would be revived.

But, at 72, what do I care?

Good point. When the BBC show the brand new editions of TOTP at Christmas, it looks very and bland the presenters are very dire to watch and to listen to.

When I watch old clips of OGWT a simple production and Bob Harris, whom is not in your face or yelling in your eardrums but is there just promoting the music.

Ok KISS did do Argent a favour and vice versa.