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Harry Styles, Kate Bush Among Nominees for Ivor Songwriting Awards

Harry Styles attends the premiere of "My Policeman" during the Toronto International Film Festival, Sept. 11, 2022, in Toronto. (AP)
Harry Styles attends the premiere of "My Policeman" during the Toronto International Film Festival, Sept. 11, 2022, in Toronto. (AP)
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Harry Styles, Kate Bush Among Nominees for Ivor Songwriting Awards

Harry Styles attends the premiere of "My Policeman" during the Toronto International Film Festival, Sept. 11, 2022, in Toronto. (AP)
Harry Styles attends the premiere of "My Policeman" during the Toronto International Film Festival, Sept. 11, 2022, in Toronto. (AP)

Singers Harry Styles and Kate Bush are among the nominees at next month's Ivors, the annual awards honouring songwriters and screen composers.

Kate Bush is being recognized for her 1985 song "Running Up That Hill" which enjoyed a resurgence in popularity last year thanks to Netflix show "Stranger Things", the UK-based Ivors Academy said on Tuesday evening.

The track will compete against Styles' mega hit "As It Was" in the most performed work category, which also includes Glass Animals' "Heat Waves" and two songs by hitmaker Ed Sheeran, "Shivers" and "Bad Habits".

Sheeran won the category last year with "Bad Habits" and it is the first time the same song has been nominated for the award two years running.

Styles has three nominations overall, including best song musically and lyrically for "As It Was" and songwriter of the year alongside his collaborator Kid Harpoon.

That category also includes singer Florence Welch, Wet Leg duo Rhian Teasdale and Hester Chambers, George Daniel and Matty Healy of pop rock group The 1975 and rapper Central Cee with collaborator Young Chencs.

Album of the year contenders include rock group Arctic Monkeys' "The Car", Irish post-punk band Fontaines D.C.'s "Skinty Fia" and Nigerian-born artist Obongjayar's "Some Nights I Dream of Doors".

Rapper Little Simz's album "No Thank You" and music collective Sault's "11" are also nominated, both with credits for singer-songwriter Cleo Sol and producer Dean "Inflo" Josiah Cover. The duo have three nominations overall.

Tom Odell’s "Best Day of My Life", Katie Gregson-Macleod’s "complex", Sault's "Stronger" and Florence + the Machine’s "King" complete the Best Song Musically and Lyrically category.

"The music nominated for an Ivor Novello this year is testament to the power and range of British and Irish songwriting and screen composing," Tom Gray, chair of The Ivors Academy, said in a statement. "It’s a superlative list."

Box office hit "Avatar: The Way of Water" and psychological drama "Don't Worry Darling" are among the nominees for best original film score.

Named after the early 20th century Welsh composer, actor and entertainer Ivor Novello, the Ivor Awards were first handed out in 1956. This year's awards take place on May 18 in London.

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JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
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JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)

Joanna Levesque shot to stardom at 13. Two decades later, “JoJo” — as she’s better known — has written a memoir and says the song responsible for her meteoric rise, “Leave (Get Out),” was foreign to her. In fact, she cried when her label told her they wanted to make it her first single.

Lyrics about a boy who treated her poorly were not relatable to the sixth grader who recorded the hit. And sonically, the pop sound was far away from the young prodigy's R&B and hip-hop comfort zone.

“I think that’s where the initial seed of confusion was planted within me, where I was like, 'Oh, you should trust other people over yourself because ... look at this. You trusted other people and look how big it paid off,’” she said in a recent interview with The Associated Press.

“Leave (Get Out)” went on to top the Billboard charts, making Levesque the youngest solo artist ever to have a No. 1 hit.

“I grew to love it. But initially, I just didn’t get it,” she said.

Much of Levesque’s experience with young pop stardom was similarly unpredictable or tumultuous, and she details those feelings in her new memoir, “Over the Influence.”

With “Leave (Get Out)” and her several other commercial hits like “Too Little Too Late” and “Baby It’s You,” Levesque’s formative years were spent in recording studios and tour buses. Still, she had a strong resonance with teens and young people, and her raw talent grabbed the attention of music fans of all ages.

“Sometimes, I don’t know what to say when people are like, ‘I grew up with you’ and I’m like, ‘We grew up together’ because I still am just a baby lady. But I feel really grateful to have this longevity and to still be here after all the crazy stuff that was going on,” she said.

Some of that “crazy stuff” Levesque is referring to is a years-long legal battle with her former record label. Blackground Records, which signed her as a 12-year-old, stalled the release of her third album and slowed down the trajectory of her blazing career.

Levesque said she knows, despite the hurdles and roadblocks the label and its executives put in her path, they shaped “what JoJo is."

“Even though there were things that were chaotic and frustrating and scary and not at all what I would have wanted to go through, I take the good and the bad,” she said.

Levesque felt like the executives and team she worked with at the label were family, describing them as her “father figures and my uncles and my brothers." “I love them, now, still, even though it didn’t work out,” she said.

With new music on the way, Levesque said she thinks the industry is headed in a direction that grants artists more freedom over their work and more of a voice in discussions about the direction of their careers. In 2018, she re-recorded her first two albums, which were not made available on streaming, to regain control of the rights. Three years later, Taylor Swift started doing the same.

“Things are changing and it’s crumbling — the old way of doing things,” she said. “I think it’s great. The structure of major labels still offers a lot, but at what cost?”

As she looks forward to the next chapter of her already veteran-level career, Levesque said it’s “refreshing” for her to see a new generation of young women in music who are defying the standards she felt she had to follow when she was coming up.

“'You have to be nice. You have to be acceptable in these ways. You have to play these politics of politeness.’ It’s just exhausting,” she said, “So many of us that grew up with that woven into the fabric of our beliefs burn out and crash and burn.”

It’s “healing” to see artists like Chappell Roan and Billie Eilish play by their own rules, she said.

In writing her memoir and tracing her life from the earliest childhood memories to today, Levesque said she’s “reclaiming ownership” over her life.

“My hope is that other people will read this, in my gross transparency sometimes in this book, and hopefully be inspired to carve their own path, whatever that looks like for them.”