The MOBO Awards at 30: Celebrating Black Music’s Place at the ‘Center of Global Culture’

Over the past 30 years, few ­executives have done more to promote and champion Black British music talent than Kanya King. While names like Stormzy, Central Cee, Little Simz and Dave have risen to arena and festival headliner status, King — the co-founder and chief executive of the MOBO (Music of Black Origin) Awards — has been plugging away to create new pathways for artists.

In its earliest days, the MOBOs was just “fighting to be acknowledged,” she tells Billboard. Now? Black music and British acts are at the “absolute center of global culture,” says King, who received a CBE (Commander of the Order of the British Empire) on the 2018 Queen’s Birthday Honours list for her services to music and culture. (She had previously received an MBE — Member of the British Empire — in 1999.)

The MOBOs ceremony, first held in November 1996, was the first in Europe to celebrate Black music and has become a staple of the awards season calendar. Performers over the years include Rihanna (2006), Lauryn Hill (2005), Sade (2000) and Destiny’s Child (1999).

This year’s ceremony, taking place at Co-op Live in Manchester, England, on March 26, is poised to be similarly star-studded. Grammy Award winner Olivia Dean will perform alongside Tiwa Savage and FLO; the former leads nominees this year with four nods. Beyond general categories, specific genre-led fields celebrate local genres such as grime (a U.K.-specific fusion of rap and garage) as well as global sounds including hip-hop, R&B and jazz.

This is, King says, just a small piece of what is set to be a yearlong celebration of the MOBOs organization. The event itself will be broadcast on Amazon Music U.K.’s Twitch channel for the first time and follows a partnership with popular pub chain Greene King to open the House of MOBOs, a community hub in south London. A documentary will follow, alongside a new book by King and an exhibition.

With the 2026 ceremony approaching, King discussed the challenges she overcame to set up the iconic night, how the industry responded and why the outlook for Black musicians and executives has changed dramatically during her time in the industry.

How do you feel about the MOBOs reaching its 30th anniversary?

Thirty years isn’t just a milestone but a testament to endurance and the imagination and power to shape Black culture far beyond the U.K. When I started the MOBO Awards, there was no real infrastructure or clear pathways for Black music here. Institutional recognition was virtually nonexistent. To be standing here three decades later, still influential, still evolving and still driving the conversation feels deeply emotional and incredibly affirming. It reinforces the importance of our original mission and the incredible work the team and our communities have done.

What special plans are in place to mark the 30th anniversary?

We have a whole year of activity planned for the MOBOs’ 30th year. The most exciting new development is the opening of the House of MOBOs. We wanted to mark the anniversary by creating a physical space that is deeply rooted in, and actively celebrates, the communities that have shaped the MOBOs. It’s essentially a cultural hub — a bit like a members club but without the fee — where people can come together to celebrate, collaborate and build.

Huge names such as Destiny’s Child and Rihanna have performed at the MOBOs over the years. What do you look for when booking the lineup for the show?

We’re looking for someone who is going to be creative and collaborative but also represent that broad genre base. For example, this year we’ve got the 25th anniversary of grime music, so we’re honoring that with a special medley. That’s a genre that MOBOs have supported since the start, way before many mainstream establishments. Similarly, we’ve championed African music since our inception and then introduced an African music category in 2005. We just like to get the breadth of all the genres, and I feel like with the lineup thus far, this year is going to be a real momentous year for performances.

The MOBO brand has become so much more than just one night. Why was that important to you?

We’ve always felt that we’ve had social consciousness and responsibility as well as the music and awards platform. We’ve been that launchpad and cultural amplifier. We’ve helped artists move from underground to mainstream and from local to global. We’ve validated some of the genres that were sometimes often dismissed. Whether that was early U.K. R&B, garage and grime to Afrobeats. In many cases, the MOBOs gave artists their first national platform at a time when others wouldn’t.

For 2026, it’s not about nostalgia alone. It’s fundamentally about legacy. We are celebrating what we have built and honoring the pioneers who made it possible, but just as importantly, we are spotlighting the new generation who are carrying the battle and the culture forward. The focus is on shaping what comes next with intention, ensuring that the brand continues to evolve.

What do you remember about pulling together the first ceremony in 1996?

That we had an incredibly short amount of time. When Carlton Television and the ITV Network gave us the broadcast slot, they essentially said, “We have good news and bad news. Good news: We’re giving you the slot. Bad news: We have very little budget and you have six weeks.”

But when you get an opportunity like that, you just have to grab it. I put everything on the line; there was no plan B. I had been talking about this for so long that I was sick of my own voice and knew I had to put my money where my mouth was. I remortgaged my home and resolved that it had to work.

What stands out most is when [then-future U.K. Prime Minister] Tony Blair turned up. His team initially said he couldn’t make it, but I’d kept them updated with news such as Lionel Richie confirming to attend. Two days before, they changed plans to make sure they were at the event. There’s a fine line between being a pain and being persuasive, and I feel like I judged it quite well.

I also vividly remember my late mother, who always wanted me to be a teacher, jumping the queue to meet Tony when he arrived to tell him what an amazing, hardworking daughter she had. I think she was trying to get me a “proper job.” It wasn’t until I received the MBE in 1999 that she truly believed things would be OK.

Did you feel the wider industry was supportive of the MOBOs back then?

The climate was completely different. There were outliers who went out on a limb to help us, but Black music was broadly seen as too risky. I was constantly told, “Why are you wasting your time? Black music doesn’t sell. The media will never get behind it. These events never start on time, they’re disorganized.” I heard it all, again and again. However, the talent was a completely different story — they were crying out for this platform.

How has the landscape changed for Black artists and executives?

The most profound change is that Black music has moved from the margins to the absolute center of global culture. In the early days, we were just fighting to be acknowledged. Today, the genres that the MOBOs champion dominate charts, streaming platforms, fashion and digital culture worldwide. This is an extraordinary transformation.

Artistically, the confidence of U.K. talent has evolved hugely. There is far less imitation, much more originality, and artists are deeply rooted in their identity, showcasing their cities and heritage. African music, in particular, is an unstoppable force. Production values are higher, storytelling is stronger and the genre-blending is so much more adventurous. I also love hearing so many local accents in music and not feeling like they have to change for the industry.

In 2009, the MOBOs were also one of the first major U.K. awards ceremonies to take the show outside of London, a move now adopted by the BRIT Awards and Mercury Prize.

I remember the complete uproar from the industry when we first mentioned taking it out of London. People said, “Good luck with that; it’s never going to work.” They were so used to the same central London venues. We went to less obvious places, but we could see the deep love for music in those cities. We’ve been to [English cities] Leeds, Coventry and Sheffield, and it’s wonderful to see the cultural imprint we’ve left. People in Liverpool, for instance, have told me that the resurgence of its Black music scene has been a direct result of the MOBO Awards being hosted there [in 2010 and 2012]. I have always tried to use the MOBOs platform for a wider impact and purpose, and traveling has enabled us to make a significant economic, cultural and social impact in those regions.

How has your own leadership style evolved over the years?

I’ve grown from a determined founder, operating largely on sheer drive, into a more reflective, strategic and resilient leader. In the early years, leadership meant resistance and pushing back against structures that simply didn’t value Black culture. Over time, it’s evolved into creating sustainable pathways for the next generation. I’ve learned to collaborate more deeply, to trust my instincts but also to listen very carefully to the talent and the communities we serve. Mentorship has also become central to my leadership, because legacy isn’t just about what you build, it’s about who you empower.

What does the future hold for the MOBOs?

The next chapter for the MOBOs is about deeper impact, broader reach and building more meaningful cultural infrastructure, not just bigger stages. You will see more citywide cultural programming through the MOBOs Fringe Festival, stronger links with schools and expanded creative pathways through Mobolise. The House of MOBOs will continue to be a vital hub for communities and partners to connect, collaborate and create. The main show will be livestreamed with Amazon Music, making it available to a wider audience. It just reflects how much the MOBOs has grown and how our partnerships now mirror our global ambition.

This story appears in the March 7, 2026, issue of Billboard.