The prize consists of a $20,000 cash prize, as well as the fame and recognition that comes with being crowned as Canada’s creator of that year’s album with the most artistic merit. This is something that seems to be lost on a lot of people. There’s always a rift when the long, then short lists are announced.

Why the hell are there “mainstream” acts? Isn’t it supposed to be about “emerging” artists? Why are people nominated more than once? How could you even possibly let someone win more than once? The list of questions goes on.

Let’s be clear: the award is not about being an emerging artist. It’s not about being super Canadian, or fitting into a group that the jury wants to throw it’s support behind because of gender, race or language. Polaris is entirely about artistic merit of the album. It doesn’t matter if you’ve been nominated/won multiple times (as was seen in this year’s short list)–no, the jury is entirely focused on the art of your record, and ultimately its value to the Canadian music-consuming audience.

This could not have been better displayed than with the 2010 winner–Karkwa, for their album Les Chemins de Verre. Fresh and barely speaking English out of Montreal, this Francophone group won over the hearts of the Polaris Jury; much to everyone’s surprise.

In an upset that may rival when Chad Van Gaalen didn’t win the Prize for the second time (we can, much to my dismay, now add Shad to this list)–this year’s announcement has once again proven that you cannot predict this prize. In fact, it seems everyone but my good friend Rob Duffy from Eye Weekly thought it would be someone else taking home the prize.

There is no one thing that guarantees you’re going to win. There’s no formula, no niche you can fill that will necessarily win over the jury to crown you King or Queen of Canadian music.

This is what I love about the Polaris Prize.

There is something so distinctly Canadian of the “Where’s Waldo?” of Canadian music and media that was played in the Masonic Temple during the gala that you absolutely can feel the love and admiration that our entertainment industry has for not only the prize, but for those we nominate.

The performances were absolutely amazing. Owen Pallett still proved that he could have easily won the prize a second time for his album Heartland just as much as Shad deserved to win for TSOL. Leaving the gala, I was truly blown away by the depth and breadth of the Canadian music industry. Having all ten nominees play showcased the array of talents that we are able to produce as a country. Whether we’re listening to The Besnard Lakes prog-rock, or Caribou’s psychedelic beats, there is no way to deny that every single person who got on stage at the gala deserved to win a prize. (Including, it would seem Grant Lawrence, who I called out for having a rad jheri curl, and Dan Mangan, who I nominated for cutest nominee).

Hell, even Broken Social Scene and Tegan and Sara (who both seemed to be contensious nominees) absolutely blew the roof off with their performances. Especially when T&S had Owen Pallett on stage for the ultimate threesome of Canadian music.

Despite what people argue–Canadians love their music, and love to support it. The $20,000 is not meant to get a band off the ground–it’s meant to help them continue to make music and contribute to our cultural economy in the same way they did with the record that won them the prize.

In sitting through tonight’s gala, through the throngs of press and media trying to gage who was going to win before the show, or grilling Karkwa after the fact about if they knew they’d win, I took a step back to really admire the decision for their record to win this year.

In a prize that has been largely dominated by English-speaking/recording bands, this year has really shown that the Polaris Prize is truly about the music. I know, I know. Everyone says it’s “about the music” but I truly believe that after tonight.

In their press conference following the gala, the band actively acknowledged the fact that nearly everyone in the room had no idea what they were saying in their lyrics, but were so grateful that the jury saw the album for its universal contribution to music, and not for its Francophone language barrier. Indeed, though many will be surprised that Karkwa were awarded the prize (as they were truly the underdogs) it cannot be argued that their music transcends language and is actually just incredible to listen to.

If you haven’t already, you should check them out. Turns out they’re kind of a big deal.