The present and the possible, recognized together.

A musical gathering inside an art museum

On November 15, 2025, the AM/IF Awards took place in the Shapiro Family Courtyard at the Museum of Fine Arts, Boston. Beneath its glass roof, the open courtyard brought musicians, industry guests and cultural partners together within a setting devoted to encounters with art.

AMIF co-founders and presidents Jiaying Qian (Nicol) and Yang Yang opened the ceremony by thanking creators, collaborators and members of the judging community. Their remarks introduced the theme I AM IFs and the relationship between the two award divisions.

AM recognized voices whose work had already reached a wide international conversation. IF looked towards emerging possibilities: artists and ideas still developing, with the potential to shape what came next. The two divisions gave current influence and future potential a place within the same account of Asian music.

Guests also had evening access to a special exhibition at the museum, extending the programme beyond the ceremony into encounters with art.

Recognition for a cross-cultural undertaking

Massachusetts State Auditor Diana DiZoglio attended the ceremony, delivered remarks and presented an official citation to AMIF. The festival also received a citation from the Massachusetts Governor’s Office.

The Chinese event report presented these acknowledgements as recognition of AMIF’s efforts to connect Asian music with a wider international cultural community. In the context of the evening, they also placed the festival within Boston’s civic and cultural life.

The setting and the recognition were part of a larger aim: to make the people and work behind Asian music visible alongside the sounds themselves, and to establish opportunities for sustained exchange.

Industry experience on the awards stage

The co-founders were joined by presenters with experience across music education, publishing, production, performance and technology. They included Christopher Wares of Berklee College of Music; Joyce Lin, whose work involved advertising and brand-related music partnerships; Sony Music China’s Jaco Zhang; music producer and director Renato Milone; conductor and music director Alex Clements; and Georgia Tech music-technology researcher Gil Weinberg.

Their participation connected professional perspectives with the work being recognized. Artists, institutions and creative businesses appeared within the same programme, reflecting the different kinds of contribution that supported the musical community.

Because recipients were based around the world, some awards were accepted by representatives. International participation was therefore expressed both through the results and through the people who came to the stage on behalf of an artist, a team or an institution.

Education as part of the musical future

New England Conservatory received the award for Best Music Education Institution. Jason Yang, Assistant Dean for International Students, accepted on behalf of the conservatory.

His remarks addressed NEC’s long-term support for Asian students and the importance of cross-cultural education. The report described a response that combined professional insight with warmth, bringing the experiences of students into a programme otherwise concerned with many different parts of the industry.

The moment underscored how artistic development depended on more than individual talent. Schools, teachers and communities helped artists find the experience, support and confidence to bring their work into new settings.

Fifteen recipients across two divisions

The 2025 framework contained sixteen categories, divided equally between AM and IF. Fifteen awards had recipients. The IF Best Social Impact Award was not awarded in this edition.

The organisers described that decision as an invitation for emerging creators to engage more deeply with social issues, extending their artistic practice into a meaningful contribution to public life.

The AM recipients were Laufey for Artist of the Year; BIBI’s EVE:ROMANCE for Album of the Year; Jane Zhang’s 野心家 for Song of the Year; JENNIE’s Like Jennie for Production of the Year; Yichun Shan for Best Live Performance; Siqing Lv for Best Cultural Influence; New England Conservatory for Best Music Education Institution; and AutoTune for Best Industry Contribution Company.

The IF recipients were Lars Huang for Best Emerging Artist; Iggie Zhang and Denise’s Buzzin for Independent Song of the Year; Chase’s Anti-People Pleaser for Independent Album of the Year; Patrick Yip for Best Independent Producer; Curley G for Best Independent Artist or Group; Yukai Yang for Best Instrumentalist; and Ailin Deng for Best Music Innovation.

A connection between generations

Akini Jing, who had been nominated in the AM Album of the Year category, also participated as a presenter. She presented the IF award for Best Independent Producer, bringing an established artist into direct recognition of an emerging creative career.

That exchange reflected the idea behind the two divisions. They were connected parts of the same musical community: people with existing influence could help draw attention to new work, while new work could widen the possibilities of the field.

The evening brought this relationship into public view through performances of recognition, thanks and support. Its record is preserved here through the ceremony film, the recipients and the people who helped make the event possible.