Colourist

Adam Clarke

Christy performs a live acoustic version of his track Without You, from the loft/green room above Peckham Liberal Club.Directed by&nbsp;Rhory Danniells, the video is a follow up to the brilliant <a href="https://www.promonews.tv/videos/2022/12/02/christy-denial-live-peckham-liberal-club-rhory-danniells/79560">In Denial</a>, which was released last month and filmed in the same location.&nbsp;Shot in an intentional, gentle fashion, in a single take, the video focuses purely on Christy's emotionally charged performance, whilst the unintrusive style of cinematography helps the whole project feel organic and natural.&nbsp;

United Kingdom

Komodo Carpentry

Amy Holden Brown

Rhory Danniells

Tom Ringsby

Intergalactic Studios

Chloe Anderson

Charlie Relph

Henry Gill

Ciaran Walker

Henry Heffer

Jayy Gomez

Christian Wood

Anastasia Pilsova

Martin Perrin

Emma Regan

Alex Mellbye

Decca Records

Christy 'Without You (Live at Peckham Liberal Club)' by Rhory Danniells

Christy-'Without-You'-by-Rhory-Danniells

Rhory Danniells directs a captivating live video for Christy, shot at the Peckham Liberal Club - in which the Scottish soul singer and his band give a storming performance in front of a disinterested audience of local punters.&nbsp;This palpably live rendition of the soulful&nbsp;number In Denial is an striking display of the artist's vocal prowess and charisma. It's a joyful, uplifting song and the energy on stage is electric, so it wouldn't matter if the audience was empty or facing the other way. But their&nbsp;lack of interest in Christy and his excellent musicians&nbsp;- with the exception of one person - is a nicely daft&nbsp;conceit.&nbsp;[imgtoken data:1]The video is the first part of a trilogy of live films, and this one is so well executed - with impressive&nbsp;cinematography by Henry Gill and Steadicam work&nbsp;by Jayy Gomez - that it will be interesting to see how Danniels develops the narrative in this wonderfully atmospheric location, as well as hearing more groovy soul from&nbsp;Christy and the band.&nbsp;Will they eventually win over this typically hard-to-please South London crowd?

Soul

Christy 'In Denial (Live from Peckham Liberal Club)' by Rhory Danniells

Christy-'In-Denial-(live-From-Peckham-Liberal-Club)'-by-Rhory--Danniells

Set against the rich and varied backdrop of Birmingham and the places and faces that make it, Cal Barnes's excellent&nbsp;video for Sipho's Arms is a lucid exploration of the artist and his personal journey.Sipho takes a seat in the cinema with his friends where he unknowingly becomes both the lead role and the audience. Within the narratives he is watching, he witnesses a multitude of paths laid out before him which take the form of surreal and dynamic performances tied together through energetic sweeping flows of movement creating momentum.[imgtoken data:1]From disjointed karaoke nights under a hazy neon glare to precision perfect performances in ambitious spaces, the video inhabits the liminal space between outcomes as life choices and paradoxes rub up against each other.Coins play a subtle supporting role here - on the green baize in the snooker hall, being toyed with by the disevelled cinema usher - representing the fact that there are&nbsp;two sides to every story.&nbsp;The light and the dark, the rough and the smooth - the two sides of the same coin...Nice work - for a terrific song. That kid Sipho&nbsp;has a hell of a voice.

Korede Alabi

Rhys Ellis

Cal Barnes

Jonny Costello

Power Of Assembly

Tom Connick

Barney Witts

Sheldon Herron

Stephen Manton

Paddy Mcmullin

Tat Vision

Dirty Hit

Sipho 'Arms' by Cal Barnes

Sipho.-'Arms'-by-Cal-Barnes

Kitt Sullivan and&nbsp;Jamie Benyon direct an artistic dance film for&nbsp;Anna Demetriou.Sharing an empty industrial space, we see Anna and two dancers perform in a high-contrast, black and white vignette.Coruscating lights and gentle camera movement create an ethereal, illusory feeling, that matches the introspective mood of the track.

Andrew Ashton

Jem White

Kitt Sullivan

Jamie Benyon

Anna Demetriou

Will Geraghty

Alex Cullen

Ivan Wood

Black Kite Studios

Anna Demetriou 'More To This' by Kitt Sullivan, Jamie Benyon

Anna-Demetriou-'More-To-This'-by-Kitt-Sullivan,jamie-Benyon

Is there life on Mars? There certainly seems to be so in Jac Clinch's absorbing promo for Police Dog Hogan, but not in the way you might expect...&nbsp;The animated video for Here Comes Crow explores a strange and wonderful narrative about an ancient civilisation&nbsp;of crows indigenous to Mars.&nbsp;We follow the story of an astronaut who is tormented and ultimately sent mad by a mysterious crow.&nbsp;Clinch was forbidden&nbsp;in the brief from showing the astronauts faces, and as a result had to bring a great deal of detail and emotion through the character's body language to&nbsp;articulately tell the story.Beautifully rendered in 2D, the video has a charming, ethereal style that is playful yet haunting, and the enigmatic climax will leave viewers mesmerised.[imgtoken data:1]&nbsp;

Jac Clinch

Blinkink

Josef Byrne

Eve Somerville

Country

Police Dog Hogan 'Here Comes Crow' by Jac Clinch 

Police Dog Hogan - Here Comes Crow

Claire Arnold's latest video for Ashnikko&nbsp;depicts Ash in three paradisiacal settings while they perform to camera.“I wrote this song pre-pandemic when I was on vacation," Ashnikko has said about&nbsp;Panic Attacks In Paradise. "I had been working really hard, just going going going... When I actually stopped to be with myself and be still, I didn’t know what to do. I was having really horrible mental health problems and I ruined my vacation for myself; so I quite literally had a panic attack in paradise.”

Claire Arnold

Ben Pengilly

Ground Work

Aaron Z. Willson

Anna Butler

Elicia Lotherington

Stefan Yap

Devan Clarke-Sheward

Dan Howe

Massimo Filippi

Ellie Koslowsky

Finn Sullivan

Holly Wood

Claire Moore

John Allan

Georgia Olive

Tom Chick

Fatima Ouklilane

Butterscotch Post

Sam Seager

Warner Music

Parlophone

Jake Whitehouse

Ashnikko 'Panic Attacks In Paradise' by Claire Arnold

Ashnikko-'Panic-Attacks-In-Paradise'-by-Claire-Arnold

London-based directing duo NoCowboys (Jody Elizabeth &amp; Betty Cutting) send Rosie Lowe on a mysterious journey of discovery in their stylish video for her track Paris, Texas.Not surprisingly, the video is partly on ode to Wim Wnders' classic movie, recreating its iconic 'booth' scene with Lowe taking the Natassja Kinski role. But the video also&nbsp;examines the relationship of ultimate familiarity - the one the singer has with herself.Filmed in various locations in and outside of London, NoCowboys maintain an impressive&nbsp;visual aesthetic throughout with their faintly surreal photographic style, propelling the alluring Lowe through her own personal road movie.&nbsp;[imgtoken data:1]

Nocowboys

Brooke Lagana

Monster@Dirty Films

Rochana Simon

James Chegwyn

Bernat Bonaventura

Luca Piercey

Cristine Dupuys

Mary D'Alise

Kate Sinclair

Jacob Hopewell

Alternative

Alternative R&B

Rosie Lowe 'Paris, Texas' by NoCowboys

Rosie Lowe - Paris, Texas (Official Video)

Directing team Jody Elizabeth and&nbsp;Beth Cutting introduce multinational trio&nbsp;Ora The Molecule to the world, with the surreal, Agnes Varda-inspired visual for Die To Be A Butterfly.&nbsp;Shot&nbsp;in the Andalusian mountains, the visual is an abstract, liquid exploration of how it feels to 'create' and collaborate.The visual intercuts nostalgic VHS&nbsp;footage with crisp, saturated setups, creating an otherworldy, anachronistic mishmash of conceptual eye candy.&nbsp;

Jody Elizabeth

Eira Wyn Jones

AJ Colomb

Absolute London

Beth Cutting

Experimental

Ora The Molecule 'Die To Be A Butterfly' by Jody Elizabeth + Beth Cutting

Ora-The-Molecule-'Die-To-Be-A-Butterfly'-by-Jody-Elizabeth-+-Beth-Cutting

Georgina Cammalleri digs deep into the intricacies of British folk tradition, and sends Sports Team spinning into a&nbsp;Wicker Man-esque frenzy, in her video for Happy (God's Own Country).The song - it's the band's first since the release of their Mercury-nominated debut album Deep Down Happy - is a scattershot vision of Post-Brexit Britain, and Cammalleri uses that as the jumping-off point for an irreverent metaphor, transporting viewers back to a&nbsp;"Merrie" old England, that is really not merry at all.After a crop failure, things move quickly down a path where old superstition and rituals take control. And when you have a ritual, you generally need a sacrifical lamb. Or in this case, a bear.[imgtoken data:1]The band play their part in these proceedings with rumbuncious energy and vigour -&nbsp;led by uninhibited frontman Alex Rice as the on-his-uppers squire (ostensibly playing the Christopher Lee role in&nbsp;The Wicker Man) and keyboardist Ben Mack, playing the 'straw bear', who's purpose is to bring back good fortune.DoP Pieter Snyman&nbsp;creates a surreal, dreamlike energy to this fastmoving narrative&nbsp;through a heavy use of zooms and handheld camerawork, replicating the mood of the cult 1973 British film. And it all&nbsp;builds to a chaotic&nbsp;finale, as the band and the Morris dancers - led by the shamanistic Phoenix Man - and head towards a big bonfire for the final ritual.So if anyone asks you if you want to wear a Straw Bear outfit, you should definitely refuse.GEORGINA CAMMALLERI ON MAKING THE SPORTS TEAM 'HAPPY (GOD'S OWN COUNTRY)' VIDEO:What was the process after you heard the song? Did you want to make a&nbsp;Wicker Man-style video, and then started going deeper into British folk culture? Or the other way around?GC: When I listen to a song, I try to find a world that resonates with the band or the song, lyrically or musically. When I heard Happy, the idea of our small island – isolated post-Brexit and further isolated by the pandemic - came to mind.&nbsp;This idea of our world being reduced to our borough, village, street… made me think of that village-type mentality. It made me think of that song&nbsp;Village Green Preservation Society&nbsp;by the Kinks, as well as&nbsp;The Wicker Man,&nbsp;and how they receive an outsider (the detective). They’re all tongue-in-cheek observations of that British village mentality which drew me to it, especially as the band are also somewhat dry-witted and tongue-in-cheek, so tonally those worlds felt right.[imgtoken data:2]<blockquote>This idea of our world being reduced to our borough, village, street… made me think of that village-type mentality.</blockquote>Once I had found my grounding and setting, I started to look at how I could give it a twist or an angle to elevate it further. That’s when I began watching countless archive clips of English folklore traditions on the BFI database and also the documentary Arcadia by Paul Wright. People have asked me if I’m referencing Midsommar and to my shame, I haven’t seen that film!What is the origin of the Straw Bear character that Ben plays in the video? Is that actually a thing?During that research, I came across a quirky tradition from Whittlesea called the Straw Bear Festival. This was rooted to a 15th century agricultural practice called 'Plough Monday,&nbsp;which involved parading a man dressed in a straw costume to raise money around town before they end up burning an effigy of it. I thought it’d be interesting to add this to the story about what sacrifices are made in the face of a ‘bad harvest’; in our modern case, the bad harvest being Brexit and Covid.I saw the photos of the costume from this tradition and it looked iconic - strange but also quite amusing. I’d noticed that in previous Sports Team videos Ben was quite deadpan in his expression, which I found very funny. I thought it’d be amusing to put him in the costume because it’s so rurally outlandish and yet he’s so deadpan.So was a Straw Bear expert involved in making the ‘straw suit’ for Ben? &nbsp;I reached out to the Straw Bear Festival organisers to see if they could create this costume – thought it’d be a neat idea to have it properly, traditionally weaved. The main organiser was extremely helpful but declined into being directly involved, as they felt it would cause a stir in their village. Apparently, they had fought quite hard to re-instate the festival which was deemed pagan by the church and my treatment’s heavy Wicker Man reference would certainly 'reignite debate', in their opinion.[imgtoken data:3]<blockquote>I wanted to put Ben in the costume because it’s so rurally outlandish&nbsp;and yet he’s so deadpan.</blockquote>At that point I was reassured that idea was perfect for the song as the themes from ST’s lyrics were almost playing out in real life. But I was also slightly stressed not knowing who could pull off such an intricate costume made with flimsy straw. Luckily Kashmir Wickham came to the rescue and, with guidance from the Straw Bear organisers, was able to create it. We did find that various other countries around the world also have a similar tradition involving men in ‘straw suits’ and that it’s not unique to the UK.There’s the Morris dancing element - with Sports Team joining in, and looking like they know what they’re doing. How did you make that happen?I also noticed was how much Alex likes to move and perform. Rather than keeping it rooted in narrative alone, I thought finding a dance that belonged to this world would be good for Alex and&nbsp;the band, and would also inject the video with an energy that goes with the tempo but still keeps it in that folklore world.I sent about 20 emails to various Morris sides in London and only two got back to me. The Phoenix Morris group [based in Rickmansworth] were so generous and game for anything, so they became part of our team. Then the band learned the steps via Zoom before the dress rehearsal. There was a moment during the shoot when we had finished a take of the dance and we kept saying&nbsp;“Cut” -&nbsp;but they all kept dancing, as if they had been possessed by the spirit of Morris.[imgtoken data:4]<blockquote>We said “cut”&nbsp;but they all kept dancing -&nbsp;as if they had been possessed by the spirit of Morris.</blockquote>Where did you shoot the video, and what was the key to getting everything you needed for the storyline?We shot the video in Amersham and in a charming place called The Chiltern Open Air Museum where they have medieval barns, cottages and a small church kept and preserved there. The locations were perfect because they struck that right balance between an arcadia feel against that small-village mentality – it felt very&nbsp;Wicker Man.Is this a comedy, or a horror – or something else entirely?Depends how much it made you chuckle… I’d say it’s a dark folk comedy.&nbsp;

Georgina Cammalleri

Lucy May Miles

Greatcoat Films

Sandra Spethmann

Monica Georgieva

Pieter Snyman

Ethan Lodge

James Taylor

Conrad Russell

Kashmir Wickham

Louise Burhai

Matthew Prickett

David Knight

Island Records

Las Bandas Be Brave

Sam Knight

Indie

Sports Team 'Happy (God's Own Country)' by Georgina Cammalleri

Sports-Team-'Happy-(god's-Own-Country)'-by-Georgina-Cammalleri

Molly Burdett’s second collaboration with Glaswegian soul singer Joesef celebrates the freedom and energy of youth, and the infectious power of dancing like no one is watching.The video focusses upon a working class community, life in a social club, and a sense of wellbeing and confidence of a young boy within that setting, to go off to dance on his own in the indoor bowling area. And that inspires Joesef and his mates to follow his lead, and chance their arm at some impromptu dancing.Burdett dovetails the documentary look with a bit of heartstring-tugging entertainment - shot on 35mm film by Miles Ridgeway. No wonder she describes the style as "Billy Elliot meets Andrea Arnold."

Molly Burdett

Miles Nathan

Spindle

Rosie Brear

Mark Lacey

Miles Ridgeway

Sefa Ucbas

Josh Rowe

Niall Smyth

Zoe Radcliffe

Joe Walton

Whitehouse Post

Absolute

Ava Millard

Kayden Weir

Mouthpiece

Connie Meade

Awal

Joesef 'Does It Make You Feel Good' by Molly Burdett

Joesef-'Does-It-Make-You-Feel-Good'-by-Molly-Burdett

Joesef can't get comfortable in&nbsp;Molly Burdett's video for&nbsp;I Wonder Why.Examining the dichotomous&nbsp;emotions that come with loss and heartache, the concept transitions from cold blue colours - as if frozen in time and not knowning where to turn - to warm reds, an overload of information that leads to a meltdown... quite literally.&nbsp;Strikingly still and composed, DoP&nbsp;Adric Watson uses subtle camera movement and intriguing composition to further the narrative, without taking any attention away from the performance."I Wonder Why is about the slow burn of heartache, and the cyclical nature of losing someone and trying to forget about it," Molly Burdett tells us. "This intimate video reflects these transitional mental states."

Ty Hack

Adric Watson

Esteban Gimpelewicz

Charlotte King

Nathan Henry

Shamirah Sairally

Hasani Franke

Work Editorial

Absolute Post

Ellie McNaughtan

Kobalt

Cinelab Film and Digital

Joesef ft Loyle Carner 'I Wonder Why' by Molly Burdett

Joesef-Ft.-Loyle-Carner-'I-Wonder-Why'-by-Molly-Burdett

Dan French creates a space-centric video for Yola Recoba's cover of the Chris Izaak classic Wicked Game.&nbsp;Without the ability to shoot new footage due to the confining impact of Covid-19, French has interweaved vintage NASA stock footage with smartly designed animation - courtesy of&nbsp;Jossie Malis at&nbsp;Zumbacamera -&nbsp;to create an enjoyable trip into our wildest cosmic fantasies.&nbsp;Stock footage and animation do not always make easy bedfellows, but his edit&nbsp;seamlessly blends the two formats together, creating a visual that is as charming as it is engrossing, as astronauts seek to make contact with Planet Yola Recoba...

Dan French

Pilar Muro

Papaya Films

Jenna Le Noury

Jossie Malis @ Zumbacamera

Joe Marsden

Marisa Garner Associates

Dance

Yola Recoba 'Wicked Game' by Dan French

Yola-Recoba-'Wicked-Game'-by-Dan-French

Jack Whiteley returns to music videos - his first since a deliciously kooky number for <a href="https://www.promonews.tv/videos/2019/04/12/aldous-harding-fixture-picture-jack-whiteley-aldous-harding/58231" target="_blank">Aldous Harding</a> earlier in the year - to undertake an surprising, sizzling makeover for erstwhile earnest indie-rockers All We Are.&nbsp;In keeping with the change&nbsp;to a&nbsp;funkier sound on their forthcoming third album, Whiteley has introduced a new element to the band's previously worthy profile - sex. But then delivers the naughty stuff&nbsp;in a charmingly tongue-in-cheek package for the album's first single L Is For Lose.It's a hot, sultry, even sweaty&nbsp;August night in Miami in about 1985 - shot in a studio, rather like a music video of the era. The band have the mock edgy attitude, like from a Pat&nbsp;Benatar video.&nbsp;But unlike the 80s, its embellished with garish&nbsp;animation that delivers&nbsp;the lyrics - created by Whitelely's regular collaborator Joe Wills - that seeps and blisters through the screen.&nbsp;It's a lurid aesthetic that's something of an acquired taste - but once acquired, you can settle back and enjoy, together with the various pleasures to be had from All We Are's change in musical direction.&nbsp;&nbsp;&nbsp;

Adam Clarke

Colourist

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