The word legend doesn’t even come close to doing justice to Music Week Awards Strat winner Kanya King and her achievements, which are once again in the spotlight as she celebrates three decades of the MOBO Awards. Ahead of this year’s big night in Manchester – the largest and most innovative iteration of the show yet – Music Week meets the MOBO founder to celebrate all that the organisation has done for Black music in the UK and beyond, and find out what plans she has in place to ensure that its impact lasts for generations to come. With exclusive contributions from Sony Music Publishing boss Jon Platt, plus Mel B, Sugababes and Bashy, King previews a MOBO Awards that is set to be one for the ages…
The rise of Black British music into a global force cannot be told without Kanya King. For three decades, the founder of the MOBO Awards and Music Week Awards Strat winner has played a defining role in shaping the course of Black music in Britain and beyond.
And as CEO of the MOBO Group, she has not only created a platform that celebrates and honours excellence, but one that has also been hugely instrumental in building the visibility, infrastructure and opportunities that have enabled Black music to thrive in the UK and resonate globally.
“When we launched in 1996, the goal was to create visibility and recognition for artists whose influence was undeniable, but whose contribution was often overlooked,” she says on the eve of the 30th anniversary edition of the MOBO Awards, which takes place in Manchester on March 26.
That vision has, over time, helped transform the landscape. Diana Ross, Sade, Janet Jackson, Beyoncé, Jay-Z, Rihanna, Lauryn Hill, Amy Winehouse, Tina Turner, Usher, Tems, 50 Cent and Davido are just some of the global superstars to have been part of the show over the years, which has been staged in host cities across the UK including London, Liverpool, Leeds, Glasgow, Coventry, Newcastle and Sheffield.
It is also reflected in MOBO’s long-standing role as an early platform for notable British crossover talent such as Craig David, Dave, Central Cee, Stormzy, Little Simz, FLO and many (many!) more, as well as for international artists breaking into the UK and European markets, including Cardi B in 2017.
This year’s special edition award show is set to be as epic as ever. Taking place at Manchester’s Co-Op Live arena, with performances from hip-hop legend Slick Rick, who will join forces with Brit-born global star Estelle for a showstopping collaboration, Jamaican superstar Shenseea and BRIT and Grammy-winning golden girl, Olivia Dean.
R&B trio FLO, Manchester rapper Aitch, BRIT winner Myles Smith and Afrobeats star Tiwa Savage are also set to light up the stage, while superstar producer Pharrell Williams will also be honoured.
Elsewhere, MOBO will also pay tribute to one of the UK music’s most influential and captivating genres, with the much-anticipated Grime 25 medley featuring Wiley, Chip, Nolay, Scorcher and D Double E, curated by DJ Target.
Meanwhile, rapper and actress Eve and comedian Eddie Kadi will take on hosting duties.
From the outset, King has believed deeply in creating a space for the culture and sounds that were already shaping Britain but were still struggling to be heard properly. As she told Music Week previously, she remortgaged her house to fund her vision.
“I put everything on the line,” she says. “My plan B was the same as my plan A: it had to work.”
Three decades on, that same determination remains, even in the face of significant health challenges. In 2024, King revealed she was undergoing treatment for stage four bowel cancer, a reality she continues to navigate with courage and grace while leading the MOBO organisation and its vision from strength to strength.
“Going through a health journey has deepened my perspective on legacy,” she shares, candidly. “And when you’re faced with challenges like that, you start thinking less about achievements and more about impact, and about the people you’ve helped, the opportunities you’ve created, the communities you’ve been able to support.”
Looking ahead, she elaborates on her point.
“When I think about the future, I don’t just see the next chapter of MOBO, I see the thousands of young people, artists and creatives who will shape the next chapter of British culture, and if we’ve played a small part in helping that happen, then that’s a legacy worth celebrating,” she says.
And what a legacy MOBO has already built, standing 30 years strong as one of the UK music business’ most important institutions. That impact is clear in the scale of Black music’s influence, which now accounts for around 80% of the UK’s recorded music market, contributing £24.5 billion of the sector’s £30 billion revenue, according to UK Music’s recent Black Music Means Business report.
Beyond the awards show, MOBO’s impact has also been about creating tangible pathways for future talent through initiatives such as its charitable arm the MOBO Trust, emerging artist platform MOBO UnSung, its career and industry access programme Mobolise, and, most recently, House Of MOBO, which King describes as “a cultural dining space where artists, creative entrepreneurs and fans can connect through live performance, intimate talks, industry sessions and community events”.
Alongside the big night this year is the addition of the MOBO Fringe Festival, a nine-day programme of industry conversations, performances and showcases, bringing together artists, producers, executives and young creatives across Manchester. Other additions to mark the anniversary include a new award category, Global Songwriter.
This was in part inspired by chairman and CEO of Sony Music Publishing, Jon Platt. As one of the industry’s most respected figures, the news is a major endorsement for MOBO in its landmark year.
“MOBO has always been about recognising the creative brilliance that drives music culture forward,” explains King, “and Jon’s lifelong commitment to songwriters and creatives reflects that philosophy, so his involvement helps to deepen MOBO’s connection with the publishing community and with the next generation of talent.”
Platt – whose work with artists such as Jay-Z, Beyoncé, Drake, Rihanna and Pharrell Williams over a 30-plus-year career, has helped elevate how R&B and hip-hop artists are respected and compensated as songwriters – is equally enthusiastic.
“For three decades, Kanya’s inspiring vision and leadership has placed MOBO at the centre of UK music and culture, elevating creators and supporting the next generation,” he tells Music Week. “As MOBO marks its 30-year milestone, the inaugural Global Songwriter Award is a powerful extension of that legacy and underscores the organisation’s ongoing commitment to championing songwriters around the world.”
Platt isn’t the only one piling on praise for King’s achievements with MOBO.
Spice Girls legend Mel B tells Music Week that she values the Awards “because they give a voice, a platform and a status to Black and mixed race artists”.
“I mean, the first time I saw anyone in the UK who looked like me was when I saw Neneh Cherry performing Buffalo Stance on Top Of The Pops when I was a kid,” she continues. “It changed my life because there was this cool, fabulous, powerful, talented woman who had my colour skin and [I thought] maybe one day I could be like her. It’s still one of my most powerful memories. So, to have the MOBOs created and celebrated opens up a whole world for Black and mixed raced kids.”
The Sugababes, who won the Impact Award in 2024, also call in to pay homage.
“The MOBOs mean a great deal to us as a band,” they tell us. “Kanya and the team have always stood by us and supported us, which we’re so grateful for. Being nominated for MOBO Awards during the early days of our career always felt special and receiving the Impact Award in 2024 was a huge moment. To be recognised in that way by our peers and our fans was just amazing. The work Kanya does to champion and uplift artists truly makes a difference. Congratulations to Kanya and MOBOs on 30 years, we love you!”
Bashy, who won Album Of The Year in 2025 for Being Poor Is Expensive, calls a MOBO gong “the most prestigious accolade you can receive from the culture”.
“Its recognition of artistic excellence is a major career milestone, so to win with all my family in the room was a dream come true for a regular kid from the ends,” he says. “I’m proud of my journey as a British artist, I worked as a bus driver, a postman, in retail… All the while, I never gave up on my music. I would watch the MOBO Awards on TV and see myself in the storytellers and musicians that went before me, see the possibilities they represented for me and my peers. Congratulations to Kanya and all the team. What the MOBO Awards has achieved in the last 30 years is truly extraordinary.”
When Music Week catches up with King on the eve of the 30th anniversary show, she is, as you might expect, exceptionally busy. Working from home, she is moving swiftly between meetings, interviews, strategy calls and fielding a random buzz on her doorbell mid-interview.
“I’m just looking now in my calendar,” she says. “Oh my, I’ve got a meeting about a livestream, I’ve got a meeting about House Of MOBO… I mean there’s a lot. I also sit on the Sky Diversity Advisory Board, and I was there all day yesterday.” She pauses to chuckle to herself before adding, “But at least no day is ever boring!”
On that note, we settle down to discuss MOBO’s latest milestone, the most ambitious iteration yet of its flagship event, the Black music scene, and much more…
With the big night just around the corner, how are you feeling?
“Thirty years is a real moment to recognise how far the culture has travelled. It’s not just the MOBO Awards, it’s a year of celebrating not just the past but continuing to build the platforms, opportunities and infrastructure that help the next generation of artists and creators to thrive. So, we’ve got a whole year of different activities taking place.”
Among a raft of headlines, Jon Platt’s involvement is big news. How did it come about?
“We met at the Ivors last year funnily enough; we were both being honoured. He’s been a great supporter of MOBO and someone who deeply understands the culture and global importance of Black music. So, he generously agreed to get involved, which is wonderful, because he brings extraordinary industry insight, but more importantly he shares MOBO’s belief that culture should be recognised, nurtured and celebrated on a global stage.
“His involvement will strengthen our relationships and help us to continue to elevate the MOBO Awards as one of the most important platforms celebrating Black music and culture globally. MOBO has always been about community and people who believe in the vision and want to open doors for the next generation. Someone like Jon embodies that spirit. His insight could help align our initiatives more closely with the global music industry and open new pathways for emerging creators. We have exciting plans, which you’ll hear more about soon!”
Thirty years is a real milestone. Did you ever envision this when you started?
“No, really. I also never expected it to be as challenging as it was, to be honest, and to have so much pushback. I thought at the very beginning about producing something very polished and working very closely with the industry, but I never expected the pushback that I got. It was tough, it was tough.
“But when you’re very determined, and you have to survive, you just keep pushing. I remember in the beginning being told, ‘Oh, it’s not going to happen again,’ or, ‘That was a fluke,’ or, ‘It’s not going to come back.’ There was always something, and you have to keep proving yourself.”
And now the MOBO Awards is established as a bedrock of the industry calendar. What are the main differences between putting it on now compared to the early days?
“There are a lot more stakeholders. Amazon is streaming the show, and we’ve also got the BBC broadcasting it. Then there’s a whole ecosystem which includes Fringe Festival, and one of the central moments of that is MOBO Fringe Summit in association with Amazon Music, which will include a series of conversations about the future of music, and the MOBO Fringe Manchester Talent Programme supported by PPL, which will spotlight 10 emerging artists from Greater Manchester. We’re also working with Salesforce, who will host an event focused on AI and how emerging technologies are transforming creativity, music discovery and the wider creative economy.
“We also have launched several initiatives such as MOBO UnSung, where we work with Help Musicians, and provide funding and business support and mentoring. Mobilise has also become a key part of the MOBO ecosystem, with a focus on career pathways and leadership opportunities across the wider creative and corporate industries.”
Olivia Dean is playing live on the night. She’s already done big things at the BRITs and the Grammys. How important is it that MOBO is part of her story?
“I mean, it’s just phenomenal, the success that she’s had. She was very keen to perform at the MOBO Awards, which is brilliant. The line-up this year is incredibly diverse. It’s a line-up that we feel reflects both the legacy of the culture and the excitement of what’s coming next.”
FLO played one of their first awards shows with you and are back this year. UK R&B has been the subject of much debate over recent years, what have you made of its development?
“For many years it didn’t always receive the same level of recognition or investment in the UK, even though the talent was always there. But it’s always been a genre that we’ve been supporting, and a lot of artists have had to work incredibly hard to build audiences and prove the value of what they’re creating. But what’s exciting now is we’re seeing that real resurgence – whether it’s FLO, Olivia Dean and others – bringing a new level of confidence and global appeal to the genre, and audiences are responding to that. UK R&B, to me, feels more self-assured. It’s not trying to imitate anything. It’s rooted in British identity, while still connecting to the wider global tradition of soul and R&B.”
Myles Smith is another example of a UK breakthrough success story. You must be really thrilled to have him on the line-up this year?
“What stands out for me about Myles is not just the music, but the sincerity behind it. He’s built that real connection with audiences through honest songwriting and powerful live performances, and that authenticity is something people really respond to. He’s also part of a generation of artists who are navigating new ways that they’re building audiences organically, speaking openly about the realities of opportunity in music and staying connected to their communities.”
The event is also recognising Pharrell Williams and Slick Rick, who is UK-born but has been based in the US for most of his life. How do you think the rest of the world sees MOBO?
“After we have the MOBO Awards, we often see a lot of comments from global talent who comment on the selection of winners or the nominees, which is amazing to see. That question just makes me think about all the comments we get from international talent. It’s just great to see how the rest of the world is appreciating what we’re doing on these shores.”
With last year’s Mercury Music Prize in Newcastle and the BRITs in Manchester, there’s a lot of talk about devolution from London. MOBO, of course, has been staging its awards outside the capital for years. Is the industry catching up now?
“I remember in 2009 when we took the MOBO Awards out of London to Glasgow, and I couldn’t believe how many people contacted me to say, ‘Well, it’s never going to work. Talent will not travel. You’ve chosen the furthest place to go. How is that going to work?’ And it was a phenomenally successful show. We had a very young Emeli Sandé performing with Chip on that show. It was incredibly successful.
“We ended up doing a long-term partnership with Glasgow because we wanted to see real, tangible social and economic impact. ITV have done a report which talks about the economic impact in Newcastle last year, which is an estimated £1.3 million, and then add to that the energy and the vibrancy we’re getting from the talent, the producers, the songwriters in the city, the impact has been huge.”
The charity partner this year is Prostate Cancer UK. Can you talk a bit about the importance of raising awareness there?
“MOBO has always had a social and cultural responsibility beyond the parameters of music, and we’ve always tried to use our platform. Health is something we don’t always talk about openly in our communities, particularly when it comes to conditions like prostate cancer. The statistics are so stark and Black men are significantly more likely to be diagnosed, yet awareness and early testing can make a huge difference. So even if a few people are prompted to have a conversation with their doctor, get tested earlier, or support someone going through that journey, then there’s a very powerful outcome.”
When you won The Strat at the Music Week Awards, it was Craig David – a previous MOBO winner, whose debut at the awards is an iconic moment in his career– who presented it to you. What did that moment say to you about the power of MOBO to create history for British artists?
“So, Craig’s debut at the MOBO Awards is one of those moments that really captured what MOBO has always been about. He was a very young artist at the beginning of his journey, but you could already see there was something unique about him. And what that moment represents is the power of giving an artist a platform at the right time. Sometimes all it takes is one stage, one performance, one opportunity for people to recognise something extraordinary.”
In light of UK Music’s new report on Black music, do you think the wider industry values Black music enough?
“Gosh. I mean, where do I start with that question? The ecosystem has always been important. There always needs to be infrastructure and support for talent to thrive and reach full potential. It’s important for people to recognise the economic impact of Black music and culture, and having a report like this come out is important. It’s very important.”
In terms of the fight against discrimination, some in the Black music community have suggested in Music Week that this is slipping down, or even off, the agenda for big music companies. What’s your take on that?
“It’s never slipped culturally, so the question is really whether industry structures supporting it are keeping up. As I said, I sit on the board of the Sky Diversity Advisory Group, and they are one of the organisations that made a massive commitment after the George Floyd murder, and it’s been fundamental, the work they’re doing. So, there’s been some progress in terms of visibility and success, but real change requires sustained investment, leadership, representation and long-term commitment from the industry. There are some organisations that are still doing good work, they might have rebranded it, but the work is still taking place.”
How optimistic are you about the future of the music business in general?
“For me, what’s exciting right now is that creativity is thriving. Artists have more ways than ever before to reach audiences, build communities and express themselves authentically. Technology, digital platforms and global connectivity have opened doors that simply didn’t exist when we started MOBO. At the same time, audiences today are incredibly open to discovering new sounds and new voices from around the world, and this has allowed genres and cultures that were once considered niche to become truly global movements. We’ve been championing and celebrating African music since day one. My gosh, how challenging was it then, but look at the global movement now.”
Finally, we’ve spoken about your personal legacy before, but right now, how do you see it?
“I mean, it’s not something I think about, to be honest. But I hope it’s about opening doors that previously didn’t exist. If people reflect on my journey one day, when we launched in 1996, many of the talents and genres we celebrate weren’t receiving the recognition they deserved in the mainstream. And if the next generation of artists, entrepreneurs and creatives feel more confident stepping into their potential because doors have been opened for them, then that will be the most meaningful legacy of all.”