It’s time once again for the Black Music Coalition’s Excellence Honourees list, the organisation’s annual celebration of Black music business talent. Here, journalist Nicolas-Tyrell Scott opens up about his music industry story and reminisces about a plane ride with Timbaland...
As a journalist, what does it mean to be highlighted by the BMC?
“I think it’s important for journalists to be represented – actual, sentient humans, especially at a time when we’re combating both algorithms and AI, alongside a lack of media literacy and reading. The BMC championing that medium in this list is paramount. It’s also important to acknowledge, uplift and support quality work within the industry, and the cohorts chosen for this list consistently reflect that. It’s a beautiful way to not only spotlight the individual, but also to examine what the industry looks like at a point in time. It acts as an archive in a way, too.”
What do you consider to be the biggest story in Black music in 2026?
“I honestly think that the biggest – or my favourite – story of the year so far is Tinashe’s ascension into the mainstream. As we speak, her eighth studio album, Popstar, has reached heights that only she could’ve imagined. She’s back in a major way within the zeitgeist, reflecting the age-old underdog story: talent will rise if it’s consistent, good enough and finds its window.”
Is there one issue or subject that no one is talking about that they should be this year?
“I’d challenge the industry to move beyond nostalgia and archive in creative works. I want to see what 2026 looks and feels like, not what a tribute to the ’90s does. We’re so reliant on archive that it’s hard to push forward, take risks, or push oneself. There are people moving needles forward, but on an industry level, it does feel like nostalgia is paying the bills while risk is feared. What we lose in that is creative expression and individuality – what happens when someone is forced to rely on themselves as the reference. That’s what we lose when we play into games of the past.”
How much has the dialogue around racism moved on since the BMC was founded?
“Racism and misogynoir still exist. I think a lot of what happened outside of Black communities in response to the events of 2020 was performative. Are people really committed to structural change? Cultural shifts? I’m not as convinced. Black people are, but allies outside aren’t as committed to helping the cause. It’s why the whole conversation around budget and Black pop stars, for example, continues to happen. It’s why Black women in the industry continue to pass on stories of discrimination. I think we have to get a lot more honest, blunt and ambitious about what liberation looks like in that respect.”
On the exec or behind-the-scenes side of things, who do you admire most at the moment?
“I really admire the work of [AWAL A&R director and BMC executive committee member] Komali Scott-Jones, and [writers] Ivie Ani, Shamira Ibrahim and Lawrence Burney. Ivie, Shamira, and Lawrence are truly moving the Black critiques canon forward. It’s very important work. Komali, a true renegade in this industry, is actually taking chances on the next generation of artists like Ceebo and Cari. It’s incredible to watch her work. She is sharp when she needs to be, but ultimately a warm soul who has the best interests in mind.”
What is your best industry story?
“Coming back from Essence Festival in 2019 and getting to have a three-hour conversation with Timbaland while our plane circled an airport waiting to refuel. We were all late for our connecting flights, but it was beyond worth it! We got to delve into the nuances of his career and production style, how he navigated his set that weekend and dig into how he became one of the most celebrated producers of our time.”
And what is the best lesson you’ve learned so far?
“Never compromise your standard. That’s what people know you for. I’m always committed to making sure that the work stands up.”
PHOTO: Calvin Ceile
