Here’s a novel idea: if a music scene wants to prove its relevancy through an award show, why doesn’t that scene put in some effort?

Boston’s ties to regional, up-and-coming, and national talent were on clear display Saturday evening at the Orpheum Theatre, as the 2007 Boston Music Awards honored many a bold-faced musical name. Metal poster boys Killswitch Engage took home Act of the Year accolades, while critical darlings Lori McKenna and Martin Sexton were awarded National Album of the Year and Indie Album of the Year, respectively. High-profile years for Bang Camaro, Sarah Borges, Matt Nathanson, and Eli “Paperboy” Reed were rewarded with some of the 25 awards announced Saturday night; Extreme used the ceremony to formally reunite onstage; and longtime Boston acts Buffalo Tom and Bobby Brown linked Boston’s present to the past as they were inducted into the Boston Music Hall of Fame.

On paper, the BMAs seem impressive - the list of awards and recipients suggest that Boston had an eclectic, buzz-worthy scene of musicians to tout during a two-and-a-half hour ceremony. But if the 20th anniversary event itself is to serve as any indication, the local scene hasn’t the same regard for the awards show. A sense of buzzed indifference, technical gaffes, and noted absences made what should be been a crowning achievement for Boston music instead an embarrassing display of missed opportunity.

No one’s said that the BMAs are supposed to be the Grammys: the perceived goal of the Boston awards show is to allow for comfortable, come-as-you-are celebration of the city’s scene. Jeans mingle with black pants here, ball caps with asymmetrical haircuts, JoJo with Aerosmith - diverse musical population means a diverse crowd.

But if the BMAs are going to be touted as an awards show presented in a theater, there ought to be at least a basic level of structure: the sound system should work, presenters should be able to find and use their cue cards, people should at least feign excitement about being present (Honorary Chairman Joey Kramer, that means you, too). Fans paid money to attend; they were rewarded with having their ears blown out by Sexton’s second microphone, factual errors in presenter introductions, and the sight of presenters placing beers on the podium before tossing empty envelopes onto the floor.

While Borges, McKenna, Sexton, and others offered quick and charming speeches of appreciation, many of those honored Saturday couldn't be found anywhere near the Orpheum. Buffalo Tom thanked Boston for the Hall of Fame spot through a written note (they were in London), Killswitch Engage thanked Boston for Act of the Year through a video (they were on tour). Girls Guns and Glory even thanked Boston for the Click Five’s Outstanding Pop Act of the Year (the Click Five were somewhere backstage). A cutting-edge award show doesn't feature presenters wondering at the microphone about whether recipients are in attendance.

The good news? At least the BMAs matter to Bobby Brown. Brown appeared - in full untucked tux, black Sox-capped glory - to accept his Hall of Fame induction on Saturday, shortly after he joined the Berklee Music All-Stars for a medley of his hits. Still basking in the applause generated by his performance of “Roni,” Brown stressed his hometown’s worth.

“I don’t need Grammys. I don’t need music awards,” Brown said. “I need this. I need Boston.”

It was refreshing to see such an apparent appreciation.