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It’s still boggling my mind to say that I won Best Original Film Score at last week’s Ivor Novello Awards for my work on Testimony.

Finding a musical voice for this important film in the edit with @aekelleher and @reynoldsemer was a privilege, as was celebrating with my director and producers @rachelglysaght and @farah.abu.1 and @bucksmusicgroupltd on the night. I count myself exceptionally lucky to work fairly equally across scripted and non-scripted films, but with four other headline dramas in the category, this really is a win for the indie doc film making family!

The other great privilege of making music for film & TV is to bring in as many of my favourite musicians as I can to contribute! In this case it was @madliner, @cora.venus.1, @dansonabend, @kimi_sheehan, @neilrevealsound and a special mention to @olliehowellmusic, who as well assisting across all aspects of this score, contributed additional music too. I’ve been quietly gathering great people around me for the past decade and this is what makes this job so special.

Looking at my fellow nominees (wonderful composers all!) I also want to address the diversity issue. Clearly the film & TV music chapter has a major challenge on its hands and things are not changing fast enough. This is not about the panel (which is stringently balanced by the @ivorsacademy)— the wonder of these awards is the fact that a room full of one’s peers are sitting around fervently discussing whether they have heard great quality music that serves its film! And it is the most extraordinarily heart-warming thing that they picked the music of this particular white-ish male! Indeed, this is a challenge to address long before we get to judging an award. This is about raising the number of women and diverse voices contributing to Ivor-qualifying films.

Thanks so much for all the well wishes and support. As I mentioned in my acceptance, my father sadly died not long ago- after my nomination but before the ceremony. This landmark moment feels all the more poignant. But don’t worry, our black cabbie on the way home kept it real. Ah yes, he said, you’re not the first Ivor Novello winner I’ve had in this cab…

cc: @them_apples_co

It’s still boggling my mind to say that I won Best Original Film Score at last week’s Ivor Novello Awards for my work on Testimony.

Finding a musical voice for this important film in the edit with @aekelleher and @reynoldsemer was a privilege, as was celebrating with my director and producers @rachelglysaght and @farah.abu.1 and @bucksmusicgroupltd on the night. I count myself exceptionally lucky to work fairly equally across scripted and non-scripted films, but with four other headline dramas in the category, this really is a win for the indie doc film making family!

The other great privilege of making music for film & TV is to bring in as many of my favourite musicians as I can to contribute! In this case it was @madliner, @cora.venus.1, @dansonabend, @kimi_sheehan, @neilrevealsound and a special mention to @olliehowellmusic, who as well assisting across all aspects of this score, contributed additional music too. I’ve been quietly gathering great people around me for the past decade and this is what makes this job so special.

Looking at my fellow nominees (wonderful composers all!) I also want to address the diversity issue. Clearly the film & TV music chapter has a major challenge on its hands and things are not changing fast enough. This is not about the panel (which is stringently balanced by the @ivorsacademy)— the wonder of these awards is the fact that a room full of one’s peers are sitting around fervently discussing whether they have heard great quality music that serves its film! And it is the most extraordinarily heart-warming thing that they picked the music of this particular white-ish male! Indeed, this is a challenge to address long before we get to judging an award. This is about raising the number of women and diverse voices contributing to Ivor-qualifying films.

Thanks so much for all the well wishes and support. As I mentioned in my acceptance, my father sadly died not long ago- after my nomination but before the ceremony. This landmark moment feels all the more poignant. But don’t worry, our black cabbie on the way home kept it real. Ah yes, he said, you’re not the first Ivor Novello winner I’ve had in this cab…

cc: @them_apples_co

It’s still boggling my mind to say that I won Best Original Film Score at last week’s Ivor Novello Awards for my work on Testimony.

Finding a musical voice for this important film in the edit with @aekelleher and @reynoldsemer was a privilege, as was celebrating with my director and producers @rachelglysaght and @farah.abu.1 and @bucksmusicgroupltd on the night. I count myself exceptionally lucky to work fairly equally across scripted and non-scripted films, but with four other headline dramas in the category, this really is a win for the indie doc film making family!

The other great privilege of making music for film & TV is to bring in as many of my favourite musicians as I can to contribute! In this case it was @madliner, @cora.venus.1, @dansonabend, @kimi_sheehan, @neilrevealsound and a special mention to @olliehowellmusic, who as well assisting across all aspects of this score, contributed additional music too. I’ve been quietly gathering great people around me for the past decade and this is what makes this job so special.

Looking at my fellow nominees (wonderful composers all!) I also want to address the diversity issue. Clearly the film & TV music chapter has a major challenge on its hands and things are not changing fast enough. This is not about the panel (which is stringently balanced by the @ivorsacademy)— the wonder of these awards is the fact that a room full of one’s peers are sitting around fervently discussing whether they have heard great quality music that serves its film! And it is the most extraordinarily heart-warming thing that they picked the music of this particular white-ish male! Indeed, this is a challenge to address long before we get to judging an award. This is about raising the number of women and diverse voices contributing to Ivor-qualifying films.

Thanks so much for all the well wishes and support. As I mentioned in my acceptance, my father sadly died not long ago- after my nomination but before the ceremony. This landmark moment feels all the more poignant. But don’t worry, our black cabbie on the way home kept it real. Ah yes, he said, you’re not the first Ivor Novello winner I’ve had in this cab…

cc: @them_apples_co

It’s still boggling my mind to say that I won Best Original Film Score at last week’s Ivor Novello Awards for my work on Testimony.

Finding a musical voice for this important film in the edit with @aekelleher and @reynoldsemer was a privilege, as was celebrating with my director and producers @rachelglysaght and @farah.abu.1 and @bucksmusicgroupltd on the night. I count myself exceptionally lucky to work fairly equally across scripted and non-scripted films, but with four other headline dramas in the category, this really is a win for the indie doc film making family!

The other great privilege of making music for film & TV is to bring in as many of my favourite musicians as I can to contribute! In this case it was @madliner, @cora.venus.1, @dansonabend, @kimi_sheehan, @neilrevealsound and a special mention to @olliehowellmusic, who as well assisting across all aspects of this score, contributed additional music too. I’ve been quietly gathering great people around me for the past decade and this is what makes this job so special.

Looking at my fellow nominees (wonderful composers all!) I also want to address the diversity issue. Clearly the film & TV music chapter has a major challenge on its hands and things are not changing fast enough. This is not about the panel (which is stringently balanced by the @ivorsacademy)— the wonder of these awards is the fact that a room full of one’s peers are sitting around fervently discussing whether they have heard great quality music that serves its film! And it is the most extraordinarily heart-warming thing that they picked the music of this particular white-ish male! Indeed, this is a challenge to address long before we get to judging an award. This is about raising the number of women and diverse voices contributing to Ivor-qualifying films.

Thanks so much for all the well wishes and support. As I mentioned in my acceptance, my father sadly died not long ago- after my nomination but before the ceremony. This landmark moment feels all the more poignant. But don’t worry, our black cabbie on the way home kept it real. Ah yes, he said, you’re not the first Ivor Novello winner I’ve had in this cab…

cc: @them_apples_co

It’s still boggling my mind to say that I won Best Original Film Score at last week’s Ivor Novello Awards for my work on Testimony.

Finding a musical voice for this important film in the edit with @aekelleher and @reynoldsemer was a privilege, as was celebrating with my director and producers @rachelglysaght and @farah.abu.1 and @bucksmusicgroupltd on the night. I count myself exceptionally lucky to work fairly equally across scripted and non-scripted films, but with four other headline dramas in the category, this really is a win for the indie doc film making family!

The other great privilege of making music for film & TV is to bring in as many of my favourite musicians as I can to contribute! In this case it was @madliner, @cora.venus.1, @dansonabend, @kimi_sheehan, @neilrevealsound and a special mention to @olliehowellmusic, who as well assisting across all aspects of this score, contributed additional music too. I’ve been quietly gathering great people around me for the past decade and this is what makes this job so special.

Looking at my fellow nominees (wonderful composers all!) I also want to address the diversity issue. Clearly the film & TV music chapter has a major challenge on its hands and things are not changing fast enough. This is not about the panel (which is stringently balanced by the @ivorsacademy)— the wonder of these awards is the fact that a room full of one’s peers are sitting around fervently discussing whether they have heard great quality music that serves its film! And it is the most extraordinarily heart-warming thing that they picked the music of this particular white-ish male! Indeed, this is a challenge to address long before we get to judging an award. This is about raising the number of women and diverse voices contributing to Ivor-qualifying films.

Thanks so much for all the well wishes and support. As I mentioned in my acceptance, my father sadly died not long ago- after my nomination but before the ceremony. This landmark moment feels all the more poignant. But don’t worry, our black cabbie on the way home kept it real. Ah yes, he said, you’re not the first Ivor Novello winner I’ve had in this cab…

cc: @them_apples_co

It’s still boggling my mind to say that I won Best Original Film Score at last week’s Ivor Novello Awards for my work on Testimony.

Finding a musical voice for this important film in the edit with @aekelleher and @reynoldsemer was a privilege, as was celebrating with my director and producers @rachelglysaght and @farah.abu.1 and @bucksmusicgroupltd on the night. I count myself exceptionally lucky to work fairly equally across scripted and non-scripted films, but with four other headline dramas in the category, this really is a win for the indie doc film making family!

The other great privilege of making music for film & TV is to bring in as many of my favourite musicians as I can to contribute! In this case it was @madliner, @cora.venus.1, @dansonabend, @kimi_sheehan, @neilrevealsound and a special mention to @olliehowellmusic, who as well assisting across all aspects of this score, contributed additional music too. I’ve been quietly gathering great people around me for the past decade and this is what makes this job so special.

Looking at my fellow nominees (wonderful composers all!) I also want to address the diversity issue. Clearly the film & TV music chapter has a major challenge on its hands and things are not changing fast enough. This is not about the panel (which is stringently balanced by the @ivorsacademy)— the wonder of these awards is the fact that a room full of one’s peers are sitting around fervently discussing whether they have heard great quality music that serves its film! And it is the most extraordinarily heart-warming thing that they picked the music of this particular white-ish male! Indeed, this is a challenge to address long before we get to judging an award. This is about raising the number of women and diverse voices contributing to Ivor-qualifying films.

Thanks so much for all the well wishes and support. As I mentioned in my acceptance, my father sadly died not long ago- after my nomination but before the ceremony. This landmark moment feels all the more poignant. But don’t worry, our black cabbie on the way home kept it real. Ah yes, he said, you’re not the first Ivor Novello winner I’ve had in this cab…

cc: @them_apples_co

Still buzzing from last week, and incredibly proud to say that Testimony is now an Ivor Novello Award-winning documentary.

Huge congratulations to Tom Hodge, whose beautiful, sensitive score for Testimony won Best Original Film Score at The Ivors.

The film gives voice to women affected by Ireland’s mother and baby homes, Magdalene laundries and the ongoing fight for truth, recognition and redress. These stories matter. These women matter. And it means so much to see the film, and Tom’s extraordinary work, recognised in this way.

There is a special screening of Testimony at the London Irish Centre on 3 June. Some of us will be introducing the film

Please come, bring people, and help us keep these stories in the room.

Tickets here:
https://lnkd.in/eQ92k-ud

Still buzzing from last week, and incredibly proud to say that Testimony is now an Ivor Novello Award-winning documentary.

Huge congratulations to Tom Hodge, whose beautiful, sensitive score for Testimony won Best Original Film Score at The Ivors.

The film gives voice to women affected by Ireland’s mother and baby homes, Magdalene laundries and the ongoing fight for truth, recognition and redress. These stories matter. These women matter. And it means so much to see the film, and Tom’s extraordinary work, recognised in this way.

There is a special screening of Testimony at the London Irish Centre on 3 June. Some of us will be introducing the film

Please come, bring people, and help us keep these stories in the room.

Tickets here:
https://lnkd.in/eQ92k-ud

Congratulations to our #BMILondon family who received wins at this year’s IVORS! @ivorsacademy

🏆Best Original Film Score 🏆
Testimony, composed by @tomhodgetom

🏆Best Television Soundtrack 🏆
Trespasses, composed by @davidholmes_1969 and Brian Irvine*

🏆 Ivors Academy Honours 🏆
@EltonJohn
 
🏆 International Songwriter of the Year 🏆
@ROSALia.vt
 
🏆 Special International Award 🏆
@realLindaPerry 
 
🏆 Outstanding Song Collection 🏆
@LilyAllen

*Not affiliated with BMI.

Congratulations to our #BMILondon family who received wins at this year’s IVORS! @ivorsacademy

🏆Best Original Film Score 🏆
Testimony, composed by @tomhodgetom

🏆Best Television Soundtrack 🏆
Trespasses, composed by @davidholmes_1969 and Brian Irvine*

🏆 Ivors Academy Honours 🏆
@EltonJohn
 
🏆 International Songwriter of the Year 🏆
@ROSALia.vt
 
🏆 Special International Award 🏆
@realLindaPerry 
 
🏆 Outstanding Song Collection 🏆
@LilyAllen

*Not affiliated with BMI.

Tom Hodge has received the Ivor Novello Award for Best Original Film Score for his score in the film Testimony at this year’s Ivor Novello Awards with Amazon Music.

The judges praised the score’s restrained composition and sensitivity, stating that “Beautifully restrained, the score displays remarkable sensitivity and emotional depth, creating an evocative internal world that is powerfully and elegantly conveyed to the audience.”

The Best Original Film Score category recognises the creative power of originally commissioned music that strengthens the storytelling, tone and emotional depth of feature films released in the UK in 2025.

A massive congratulations to @tomhodgetom 🏆

Hitting the Ivors tomorrow since my Testimony OST is up for Best Original Film Score (opposite Bugonia, Dragonfly, Nosferatu, and The Brutalist!). Feels pretty good to be representing a documentary in this category, especially one of this depth and importance. In Testimony, @aekelleher has created a film that holds a magnifying glass up to the horrific cruelties of the Magdalene Laundries, telling the story of the campaign that seeks to hold the Irish government to account.

Huge shout out to the musical team that helped me bring the score to life - @olliehowellmusic @dansonabend @madliner @cora.venus.1 @kimi_sheehan. And to @farah.abu.1 and @rachelglysaght for having me onboard!

And thanks to our publisher @bucksmusicgroupltd for hosting us all tomorrow!

P.S Londoners can go and see the doc on 3rd June at the @londonirishcentre.

LOMU Is headed to @sydneyfilmfest on 13th and 14th June and @NZIFF on 1st August.

Pleased to have written the soundtrack for this complex portrait of the legendary All Black.

@lomu.film @gavfitz_me @vea_mafileo @sylverents @dogwoof

LOMU Is headed to @sydneyfilmfest on 13th and 14th June and @NZIFF on 1st August.

Pleased to have written the soundtrack for this complex portrait of the legendary All Black.

@lomu.film @gavfitz_me @vea_mafileo @sylverents @dogwoof

Well that was a big day yesterday.. my Testimony score nominated for an Ivor Novello @ivorsacademy!

Amazing to see Aoife’s documentary standing proud next to four of last year’s standout dramas. Already a win for team documentary!

I sat on an Ivor TV panel many moons ago and know what a rigorous process it is. Just to have an Ivor-qualifying film already puts you in rarefied company and to receive a nomination from a room full of my peers is very special indeed.

Testimony really was a unique film to work on- an actual vehicle for justice. I hope the nomination continues to raise profile for the Magdalene survivors.

Ultimately the best part of film scoring is collaboration, both with the film makers and then the team you get to bring on to make your sound world.

I had such a rewarding time with Aoife and Emer testing and honing a musical language that would resonate for this important film.

And my music team really is the best!I was lucky enough to start working with Ollie on The Mauritanian in 2021 and he is basically my first call to assist on anything and everything. Full of innovation and dedication, special thanks to him for additional music on this score. Maddie has played on so many scores for me now and just always brings that magic direct from Mabbey Road. And with Dan you book a bass session and you get back the most amazing array of fx production adventures as part of the bargain. My first opportunity to work with Cora who provided really some most wonderful heart to the whole score.

Of course I’ve made sure access to other-worldly vocals is a life choice! Thanks Kimi for all your support.

I was lucky enough to be nominated for an Ivor in 2019 for Rize of the Nazis, but the ceremony was cancelled because of the pandemic. So this really is 7 years in the making!

Thanks for all your kind messages!

(Do have a listen where you get your streaming! Mastered by Neil)

@olliehowellmusic @dansonabend @madliner @cora.venus.1 @kimi_sheehan @neilrevealsound

@aekelleher @farah.abu.1 @rachelglysaght @reynoldsemer

Well that was a big day yesterday.. my Testimony score nominated for an Ivor Novello @ivorsacademy!

Amazing to see Aoife’s documentary standing proud next to four of last year’s standout dramas. Already a win for team documentary!

I sat on an Ivor TV panel many moons ago and know what a rigorous process it is. Just to have an Ivor-qualifying film already puts you in rarefied company and to receive a nomination from a room full of my peers is very special indeed.

Testimony really was a unique film to work on- an actual vehicle for justice. I hope the nomination continues to raise profile for the Magdalene survivors.

Ultimately the best part of film scoring is collaboration, both with the film makers and then the team you get to bring on to make your sound world.

I had such a rewarding time with Aoife and Emer testing and honing a musical language that would resonate for this important film.

And my music team really is the best!I was lucky enough to start working with Ollie on The Mauritanian in 2021 and he is basically my first call to assist on anything and everything. Full of innovation and dedication, special thanks to him for additional music on this score. Maddie has played on so many scores for me now and just always brings that magic direct from Mabbey Road. And with Dan you book a bass session and you get back the most amazing array of fx production adventures as part of the bargain. My first opportunity to work with Cora who provided really some most wonderful heart to the whole score.

Of course I’ve made sure access to other-worldly vocals is a life choice! Thanks Kimi for all your support.

I was lucky enough to be nominated for an Ivor in 2019 for Rize of the Nazis, but the ceremony was cancelled because of the pandemic. So this really is 7 years in the making!

Thanks for all your kind messages!

(Do have a listen where you get your streaming! Mastered by Neil)

@olliehowellmusic @dansonabend @madliner @cora.venus.1 @kimi_sheehan @neilrevealsound

@aekelleher @farah.abu.1 @rachelglysaght @reynoldsemer

Oh, wow! This is a great surprise - an Ivors nomination for Testimony. Thanks, @ivorsacademy!!

Longer message with proper thanks to my wonderful collaborators coming later! For now, huge shout out to @olliehowellmusic @dansonabend @madliner @cora.venus.1 @kimi_sheehan. And to @aekelleher @farah.abu.1 and @rachelglysaght for having me onboard!

🔗 Link in bio to listen

Big thanks to all who’ve watched all three eps of AI CONFIDENTIAL WITH HANNHA FRY. Lots to consider in this series, though it helps to have it offered up in @fryrsquared’s exceptionally safe hands.

@curiousfilms1 @harrietbirdy @them_apples_co

Some kind words for AI CONFIDENTIAL WITH HANNAH FRY - the must-watch 3-part series over on @bbciplayer (with a score by me) for anyone wondering if we’re about to be (or indeed already have been) taken over by robots.

“an essential series as we teeter at the edge of a new world” - @thetimes

“a stark message about the shadowy side of machine intelligence” - @irishtimesnews

“It won’t put your mind at rest but this is an excellent explanation of Artificial Intelligence” - @theirishnews

@curiousfilms1 @harrietbirdy @them_apples_co

A big week for LOMU, the new doc from Gavin Fitzgerald and Vea Mafile’o, with premieres at @dublinfilmfestival and @glasgowfilmfest.

A Tongan-Kiwi phenomenon, Jonah Lomu became the youngest player ever to wear the All Black jersey and still holds the record for the most tries in Rugby World Cup history.

But beyond “The Big Fella” was a quiet, humble man dealing with huge pressure and very public struggles.

A pleasure to have provided the soundtrack!

@lomu.film @gavfitz_me @vea_mafileo @sylverents @dogwoof

A big week for LOMU, the new doc from Gavin Fitzgerald and Vea Mafile’o, with premieres at @dublinfilmfestival and @glasgowfilmfest.

A Tongan-Kiwi phenomenon, Jonah Lomu became the youngest player ever to wear the All Black jersey and still holds the record for the most tries in Rugby World Cup history.

But beyond “The Big Fella” was a quiet, humble man dealing with huge pressure and very public struggles.

A pleasure to have provided the soundtrack!

@lomu.film @gavfitz_me @vea_mafileo @sylverents @dogwoof

A big week for LOMU, the new doc from Gavin Fitzgerald and Vea Mafile’o, with premieres at @dublinfilmfestival and @glasgowfilmfest.

A Tongan-Kiwi phenomenon, Jonah Lomu became the youngest player ever to wear the All Black jersey and still holds the record for the most tries in Rugby World Cup history.

But beyond “The Big Fella” was a quiet, humble man dealing with huge pressure and very public struggles.

A pleasure to have provided the soundtrack!

@lomu.film @gavfitz_me @vea_mafileo @sylverents @dogwoof

A big week for LOMU, the new doc from Gavin Fitzgerald and Vea Mafile’o, with premieres at @dublinfilmfestival and @glasgowfilmfest.

A Tongan-Kiwi phenomenon, Jonah Lomu became the youngest player ever to wear the All Black jersey and still holds the record for the most tries in Rugby World Cup history.

But beyond “The Big Fella” was a quiet, humble man dealing with huge pressure and very public struggles.

A pleasure to have provided the soundtrack!

@lomu.film @gavfitz_me @vea_mafileo @sylverents @dogwoof

AI Confidential with Hannah Fry is hitting your screens tonight 9pm on @bbctwo. First up: ‘The Boy Who Tried to Kill the Queen’, though all three eps are available on @bbciplayer right now if you feel like getting them in all at once.

@curiousfilms1 @harrietbirdy @them_apples_co