Mouthpiece

Production Company

Kode

Harv Frost's latest for Brighton band Black Honey plays with nostalgia using stylized stock footage and performance cutaways to build the illusion of an old-time TV broadcast.In the Shallow video the alt/indie rock outfit leans into the retro aesthetic while letting the rough edges show.[imgtoken data:1]

United Kingdom

Enrica Miller

Harv Frost

Henry Richmond

Bad Bones Films

Jed Clist

Adam Singodia

Lily Roberts

Daragh Mccann

Rowan Hutchings

Omar Ragab

Macy Trieu-Dingle

Viktoriia Kostruk

Dasha Taivas

Rock

Black Honey 'Shallow' by Harv Frost

Black-Honey-'Shallow'-by-Harv-Frost

<h3>The KODE director has spent the past few months with Oasis on their spectacularly successful comeback tour - mostly pointing his camera at&nbsp;the fans. It's not only led to a remarkable document of the biggest pop culture moment of the year, it's also elevated what is possible in the live concert space.</h3>A remarkable year for filmmaker Daniel Broadley began with him working with one of the UK's biggest artists, Sam Fender, on his latest stadium tour&nbsp;in support of his new album. Capturing the Fender live shows was a big project - but things were about to&nbsp;get much bigger.&nbsp;Broadley's creative partnership with Fender over the past two years caught the attention of the management team putting together the biggest comeback tour for a long time... perhaps of all time. Oasis came calling and Broadley was then able to make a wonderful contribution to what has become the outstanding pop cultural phenomenon of the year.&nbsp;On one level, Broadley's work on the Oasis Live '25 tour could be simply described as social media content, as its purpose is to exist on those platforms. That was certainly his primary objective of his and his team's main role on the tour: creating short recap videos from each show from a combination of band footage and audience moments that they have taken before and during the concert, which has then been posted on <a href="https://www.instagram.com/oasis/?hl=en" target="_blank">the band's Instagram</a> and elsewhere.&nbsp;But much as the reaction of fans to the Oasis reunion has transcended most people's expectations, the footage taken by Broadley and his colleagues have also transcended their original function. An understanding that the fan experience was central to this tour has led to them becoming pretty much the sole focus of an intriguing offshoot of the recap videos - - the video 'postcards' from the tour.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133796882?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #2 - Biblical"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>With a range of mobile camera equipment and a superb range of lenses,&nbsp;Broadley and photographer Joshua Halling and their tiny crew, took a conceptual approach to shooting their footage, including a number of locked-off shots from a series of locations both in and around the stadium where the Oasis show was taking place. And the footage taken on those cameras has become the source of the 'postcards'. With each one being several seconds in length - as opposed to being a part of a fast cutting montage of action - you are invited into a much more intimate moment of the fan experience.&nbsp;In a&nbsp;way, it's quite simple, but it's also groundbreaking. And it's both artistic statement and genuine visual document of the impact of the Oasis comeback upon the fans attending the shows. It's powerful enough to transcend the platforms for which it was intended - but it's also been hugely successful on those platforms, fuelling even greater&nbsp;buzz around the tour, amassing millions of organic views in the process.&nbsp;The Oasis Live '25 video postcards are&nbsp;immersive, contemporary, and deeply human.&nbsp; They provide another level of&nbsp;emotional connection with the band. They are also highly cinematic, capturing the energy, excitement, scale and moments of intimacy at these shows.&nbsp;As such, they are all of a piece with great concert films, going all the way back to&nbsp;Woodstock. But arguably they have elevated the visual language of live music coverage in the social media era.&nbsp;We spoke to Dan Broadley about how this project started, how they find their subjects - before, during and after the show&nbsp;- and ask him to reveal his absolute favourite Oasis Live '25 postcard&nbsp;so far.[imgtoken data:1]&nbsp;Filmmakers on tour - with Oasis: above, left to right: Jay Davidson, Daniel Broadley, Joshua Halling.<blockquote>I cannot begin to describe the mixture of adrenaline, anxiety and anticipation [before the first show].</blockquote>Can you explain how you became involved in the the idea of ‘postcards’ from the Oasis 2025 shows came about?&nbsp;DANIEL BROADLEY: The initial conversations between myself, Joshua Halling, the lead photographer,&nbsp;and the label and management were mostly about how we shift the focus from the band itself and onto the fans. We knew there would be a story about the generational shift between the people who’d followed the band up until their split, and then a new generation of fans who’d found them during the hiatus.But beyond that, there was this idea that every fan would be having their own unique experience, whether squashed against the front barrier, dancing at the back of the room or even sitting outside the venue whilst the show went on.The term ‘Postcards’ was coined some years previous during a viral trend on Instagram and TikTok for travel/tourism films where the camera would remain static whilst capturing an uninterrupted candid moment. I first remember seeing filmmaker <a href="https://www.instagram.com/daiki.shino/?hl=en" target="_blank">Daiki Shinomiya</a> do this.However, it wasn’t something that I’d seen done a lot in music. Editing seems to have gotten faster and more intense in recent years, with the rise of film emulation techniques and the inclusion of flash-frame cuts&nbsp;and busy sound design elements. At the start of 2025 slowing down and holding a frame was certainly not a popular choice for live music recaps.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133795856?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #3- Burger Van"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>&nbsp;Was there a particular inspiration for this idea, or a reference point?DB: There are parallels between football (in fact any major sporting event) and the Oasis comeback shows. A lot of our inspiration came from that. Josh had actually done some really beautiful photo-doc work with Manchester United in the months leading up to the tour, shining a light on the different generations of fans, which went into our original pitch deck, as well as excerpts from <a href="https://www.elliottdavenport.com/back-on-our-perch" target="_blank">Elliott Davenport’s exceptional book Back On Our Perch</a><a href="https://www.elliottdavenport.com/back-on-our-perch" target="_blank">,</a>&nbsp;where he followed a Liverpool FC victory parade through the city, intimately capturing the vibrant chaos through a lens.Our very own Harriet Bols (photographer on the Oasis tour) shared with us a series of ‘Postcards’ she’d shot alongside a team at Parklife festival the year previous, which confirmed the concept would work in a musical setting. And&nbsp;<a href="https://www.instagram.com/charlottealex_/?hl=en" target="_blank">Charlotte Alex</a> is another brilliant photographer who’s recently moved into video whilst touring with Sigrid. She brings a stillness to her work that was a big inspiration. As well as filmmaker <a href="https://www.instagram.com/willwarr/?hl=en" target="_blank">Will Warr</a> and his stunning locked-off vignettes of his family.Lastly the work that Brendan Yates and Pat McRory created for their own band <a href="https://www.youtube.com/channel/UCP5O_Y-RbtVJUEv4uLP-O8A" target="_blank">Turnstile</a> proved that just because the songs carry the sonics of an earthquake doesn’t mean the accompanying visuals have to as well. A creative decision that Trevor Roberts then carried over into their tour visuals.[imgtoken data:2]<blockquote>I knew... this thing was going to be a runaway freight train.&nbsp;</blockquote>Were you surprised by the passion and excitement of the fans and the emotion expressed by them during the shows, or was that anticipated?&nbsp; (and why you did them in the first place?)DB: Honestly, no-one knew what was going to happen before this tour started. There were so many unknowns, because Oasis hadn’t played a show since 2009. The world has changed since then and there was nothing to gauge this on. What does an Oasis concert look like in 2025? Would fans cry? Or fight? Both? Neither?I knew deep down that no matter how much we planned (which we did meticulously) this thing was going to be a runaway freight train without any tracks. We just needed to hang on tight and make sure we were ready to deviate from the original plan at a moment’s notice if need be.Was the prime motivation to create excellent content for social platforms, or to do an alternative form of documentation of the Oasis reunion, to sit alongside a more conventional capturing of the live shows?DB: We were always hired to solely lead the social media content team. That’s been our key goal from the start and continues to be our primary purpose as the tour’s gone on.Oasis left the world in a time before social media became what it is now, and there were a lot of questions about how we make sure that when they show up on all these platforms the content doesn’t feel like a legacy band trying to ‘fit in’. It needed to be bold, unique and in its own lane.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133798106?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #4 - Fan on Shoulders"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>&nbsp;How did you approach the project in terms of manpower, cameras and positioning at the concerts? (And how many concerts on the tour did you cover?)DB: As with any project, budget dictates manpower. We worked out that having a core team of four - lead by myself on the video front and Joshua Halling on the photo front - would give us enough coverage to capture what we needed at each show, with the option of adding one more local person to each of our teams for key shows that needed more coverage for press or TV.Our core team consists of myself and Jay Davison on video, and Joshua Halling and Harriet Bols on photography.Were your team briefed to find stories among the fans, or during moments with the band?DB: The goal is to always be reactive. If we brief too hard then each show becomes a ticklist, and extraordinary or unpredictable moments get missed. As the tour has progressed and the set list ingrained in our heads we are able to instinctively position ourselves in the right place at the right time for key moments from the band, whilst keeping another eye on what’s going on in the room.[imgtoken data:3]<blockquote>The postcards concept was new to [Jay and myself]....&nbsp;It feels like being back at film school again.</blockquote>Did you shoot yourself, or were you directing, like a live concert director, getting the camera feeds coming back to you during the show?DB: I direct, shoot, edit and grade, which means I put a lot of trust in my collaborators. Fortunately Jay is also a talented multi-disciplinary filmmaker, which means I can confidently delegate parts of the project to him.We work very well together. In many ways we have similar sensibilities and style, but the postcards concept was new to us both, and navigating that together has been a lot of fun. It feels like being back at film school again.What were your own favourite moments whilst shooting the shows? And which are your favourite postcards?DB: My favourite moment was probably before the show even started. Walking up the service ramp towards the stage at the first show in Cardiff, the same ramp that thirty minutes later Oasis would walk up, in what will arguably be remembered as the biggest musical comeback in history, whilst Richard Ashcroft’s Bittersweet Symphony ricocheted off of the walls as he finished his support set... that's a moment I’ll carry with me until the day I die. I cannot even begin to describe the mixture of adrenaline, anxiety and anticipation that I was feeling right there and then.And which are your favourite postcards?DB: My favourite postcard has to be the one we’ve now dubbed as ‘The crying man’. It was during a show in Chicago. I saw Harrie [Bols] fixating on something down by the front barrier during Don’t Look Back In Anger. I think she may have even summoned me to come and capture it alongside her.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133794066?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #1 - The Crying Man"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>[It was] A man crying his heart out during the chorus of the song. It felt like he embodied every single Oasis fan and how they were feeling. He was so in the moment he didn’t even notice me filming which meant I was able to capture an incredibly intimate portrait of his experience. It left me in tears, it felt like all his pain was pouring out of him as he screamed the lyrics.I was actually lucky enough to meet him and tell him what that shot meant to me at a later gig. His name is Ian Young, and I feel like he’s now become the mascot for the Oasis Live ‘25 tour.<blockquote>One of the bitterest pills to swallow is the impermanence of social media content.</blockquote>The postcards made a huge impact on socials. Was there a quick turnaround between shooting them and posting them, or did you have an amount of time to curate the material you’d captured at a show?DB: Though our team on the ground is led by myself and Joshua, we are incredibly lucky to be led ourselves by the head of creative at Ignition - Sarah Mansfield. Sarah is the reason we were picked for this job, she saw something in our work that others might have missed. She has been our guiding light since the tour began, championing our creative decisions, fighting for our vision. Noneof this would look the way it looks without her. She curates all the postcards for the various social channels.The turnaround is usually dictated by the amount of time before the next city/country. We try to get content out before the next block starts so it’s as fresh as possible. Sometimes we have a few days, sometimes less than one.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133797623?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #5 - Facetime"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>&nbsp;It's been an amazing campaign, but by its nature a social campaign is something that exists for a while and then disappears. So is there a more permanent place where this remarkable document will live on. In fact... live forever?DB: I think one of the bitterest pills to swallow is the impermanence of social media content. We try not to let that dictate the quality of what we are creating. I strive to make each recap edit in the same way I would approach a music video, or commercial - albeit with less resources and faster turnarounds.Hopefully there’s a place for the content to live once the tour has finished that will allow people to continue to enjoy it. However, if its purpose was to be fleeting and momentary then so be it. The experience is more important to me than the souvenir.• Daniel Broadley is a director at <a href="https://kodemedia.com/" target="_blank">KODE</a>, and he's represented for music videos by <a href="https://www.mouthpiecerep.me/" target="_blank">Claire Stubbs at Mouthpiece</a>. Check out the continuing stream of recap videos and video postcards on the <a href="https://www.instagram.com/oasis/?hl=en" target="_blank">Oasis Instagram</a>.

Daniel Broadley

'No-one knew what would happen before this tour started.' | Daniel Broadley on creating video postcards for Oasis Live '25

Dora Paphides directs an evocative, studio-based&nbsp;promo for Perrie.&nbsp;The video for Rocket Scientist is a stripped-back masterclass in minimalism, carried by Perrie's emotional performance, inspired&nbsp;styling and water-based vignettes.&nbsp;DoP Adam Singodia's use of&nbsp;contrast and shadow adds a textural feel to the video, creating a raw and intimate aesthetic.&nbsp;

Aaron Carlo

Dora Paphides

Wojciech Czarkowski

Michael Lewin

Kian Altmann

Nathan Killham

Oli Hill

Ollie Pearson

Richard Perry

Lauren Coutts

Megan Lee

Electric Theatre Collective

Perrie 'Rocket Scientist' by Dora Paphides

Perrie - Rocket Scientist (Official Video)

Dora Paphides is back with another pop extravaganza - this time for Perrie's new track, putting their own&nbsp;twist on some classic chick-flick movies.&nbsp;Featuring the song's co-writer Nina Nesbitt, the&nbsp;video for If He Wanted To He Would is a mash-up of the likes of&nbsp;Mean Girls, The Holiday, Pretty Woman, Love Actually - or an alternative ending to&nbsp;The Princess Diaries, where instead of happily-ever-after, Perrie and Nina decided to storm the palace and wreak havoc.[imgtoken data:1]It begins with Perrie driving to the big country house, where Nina watches her ex-boyfriend (Jack Brett Anderson) plead for forgiveness for his misdeeds via the medium of written placards ("Sorry I Slept With Your Sister", etc)&nbsp;in the style of the famous scene in Love Actually.&nbsp;And then Perrie's car runs him over.While Perrie&nbsp;and Nina celebrate their friendship&nbsp;in the big house with some pampering and dressing up, the vain ex continues to provide the laughs through his hapless attempts to gain Nina's attention - and eventually gets more comeuppance from Perrie. A strong concept that's impressively executed and a&nbsp;fitting accompaniment to the track.&nbsp;[imgtoken data:2]"When writing this, I really wanted to celebrate female friendship - the power of platonic love and the joy of showing up for your mates," explains Paphides.&nbsp;"For me, directing is about holding up a visual mirror to the song, and this track is overflowing with joy. Perrie came in with brilliant ideas about referencing movies, which I loved, because it gave us a shared language to build from. The heart of the video is the very real experience of heartbreak and the comfort of friends - but placed in a completely fantastical world, to match the euphoria the song brings.[imgtoken data:3]"Working with Perrie was a total dream. She’s incredibly collaborative, full of energy, and has that rare star quality where the second she starts performing, she’s magnetic. I don’t think I’ve ever seen a higher hit rate of amazing takes."If the video feels joyful to watch, it’s because we had so much fun making it. Honestly, one of my favourite projects I’ve worked on to date."&nbsp;

Lucy Cooper

Aaron Franco

Mark Lane

Charlie Knight

Darren Sinnott

Ali Copland

Marcus Albertson

Ali Baines

James Huthwaite

Geri Docherty

The Quarry

Perrie 'If He Wanted To He Would' by Dora Paphides

Perrie - If He Wanted To He Would (Official Video)

Harv Frost returns with another spectacular promo for The Last Dinner Party - a surreal Soho-set Western for the first release from the band's second album.&nbsp;The video for This Is The Killer Speaking transforms London streets into a Western-style town, complete with its own dive bar, fashion and... ethereal centaur. Okay, maybe that's a new addition.&nbsp;[imgtoken data:1]In the same ambitious, stylish and often surreal aesthetic as Frost's previous collaborations with the band, it's a fresh vibe and a great introduction to the follow-up to their acclaimed debut LP&nbsp;Prelude To Ecstasy.&nbsp;HARV FROST:"Returning to work with TLDP was a dream, after collaborating together on the videos for the first album and our short for the album&nbsp;Prelude To Ecstasy. We have built such a rich mini-cinematic universe that was a joy to dive back into.[imgtoken data:2]"This time it was about doing something different, we wanted to burn the book on what we have done previously, and create something that combines all we have learnt from our previous videos."The pitch for the video was ‘the band wreaks Western-style havoc in Soho’ so I knew from the start it was going to be a challenge in itself - around the band’s availability we could only shoot on a Thursday morning for the Soho scenes, so that meant lots of curious passers-by&nbsp;and stopping traffic.[imgtoken data:3]"This a complete contrast from the locked-off controlled environments we were used to shooting in for previous videos, it posed a new kind of challenge. Thanks to 1st AD master Rose Lucas and the rest of the crew we managed to pull it all off while causing a bit of a scene."For this video my references were stooped in classic spaghetti westerns like Fistful of Dollars, Django and The Good, The Bad And The Ugly,&nbsp;but wanted to give them this acid-western feeling and shoot them in a way that felt modern without being too pastiche. It was about carving out our own style.[imgtoken data:4]"The challenge was making something that felt unlike past TLDP videos that still kept that DNA. That theatricality and character but with a new lick of paint, a darker palette and an even a bleach blonde wig for Abigail. And in typical Last Dinner Party fashion, a western without horses, but rather, a centaur!"Always such a privilege to work with this powerhouse of a band, and to kick off the campaign for their second album."

Théïa Maldoom

Ella Kean

Suzanne Holland

Rubina Vita Marchiori

Harry Crum

Lottie Lindsay-Beavan

Theresa Adebiyi

Riaz Ahmed

Fraser Rigg

Nahal Ashrafithe

Rose Lucas

Tom Colli

Anil Duru

Sinan Yilmaz

Matthew Hollis

Sasha Hilton

Hannah Godley

Natasha Lawes

Grace Sinnott

Eden Read

The Assembly Rooms

Tim Smith

Rascal

Covert

Alternative

Indie

The Last Dinner Party 'This Is The Killer Speaking' by Harv Frost

The Last Dinner Party - This is the Killer Speaking (Official Video)

Dora Paphides brings the Noughties vibe in this evocative performance promo for Sugababes.&nbsp;The video for Shook blends slick performances by Mutya, Keisha and Siobhan with frantic lo-fi snapshots of city streets&nbsp;- and a starring role for a big white&nbsp;truck emblazoned with&nbsp;the Sugababes logo."At the centre of this chaos is one iconic image: a towering white delivery truck, branded boldly with SUGABABES," explains Dora.&nbsp;"It’s more than a prop — it’s a symbol. A moving monument to the band being cemented as icons.&nbsp;This truck barrels through the video like the band themselves: unmissable, larger-than-life, and impossible to ignore."It's all brought together in a super-fast edit to reflect the feeling of being completely&nbsp;Shook by this latest banger by the 'Babes.&nbsp;

Hannah Knowles

Angelica Wolanska

Justin Hamilton

Neil Stuart

Christopher Broomfield

Natasha Duursma

Tara Leonard

Dan Huntly

Alasdair Banes

Niels Halle

Jason Goh

Devon Maz

Buki Ebiesuwa

Georgina Graham

Roisin Donaghy

Carina Etae

Dani Rotaru

Time Based Arts

Sugababes 'Shook' by Dora Paphides

Sugababes - Shook (Official Music Video)

Daniel Broadley directs an absorbing promo for Sam Fender's collaboration with Olivia Dean, combining&nbsp;footage of the pair performing on Fender's recent stadium tour, synced to their recorded track.&nbsp;Captured via multiple cameras at the concert&nbsp;at The London Stadium and Fender's 'homecoming' show at St. James's Park in Newcastle, it's a cinematic showcase of&nbsp;live performance, that starts as Sam introduces&nbsp;Olivia to co-perform this song.&nbsp;With sweeping shots of an ecstatic audience and a healthy dose of slow-mo, it's an elevated visual that both encapsulates the&nbsp;tumultuous energy of a Fender gig, and also the tenderness of the song.&nbsp;Lovely work.&nbsp;

Semera Khan

Sam Fender ft Olivia Dean 'Rein Me In' by Daniel Broadley

Sam Fender — Rein Me In (feat. Olivia Dean) [Official Video]

Dora Paphides creates a steamily irresistible club atmosphere for US singer Justine Skye’s collab with producer Kaytranada in her most impressive video yet.&nbsp;The New York-shot promo for Oh Lala&nbsp;&nbsp;is a riveting showcase for Justine where she performs impressively amidst a sea of writhing bodies.&nbsp;"We looked a lot at Gaspar Noé, Paris Is Burning, Suspiria (just a touch), and the 2024 Vogue Italia Steve Meisel cover for this video," says Dora. "We wanted the club to feel like its own universe. Once the doors close, nothing else exists. It’s seductive, surreal, and totally immersive - almost like the club becomes a character in itself."Justine was incredible to work with: a visionary and a true collaborator. Every move she made on camera was magnetic—honestly, a dream artist." &nbsp;

United States

Kyle Young

Jack O’mullane

Thea Dagnaud

Dan Kreeger

Jahleel Weaver

Alyson Cox

Las Bandas Be Brave

John Busch

Violet Smith

Jamie Dolan

Nick Sossi Romano

Yoel Collado

Mo Shane

Veronica Lupo

Ro Morgan

Jezz Hill

Daniela Rotaru

Justine Skye, Kaytranada 'Oh Lala' by Dora Paphides

Justine Skye, KAYTRANADA - Oh Lala (Official Music Video)

A street corner comes to life in Taz Tron Delix's uplifting showcase for BRIT-winning singer-songwriter Myles Smith.In the video for Gold, Smith is front and centre among a growing group of revellers on an LA street intersection. It's a bright, colourful and resoundingly upbeat scene to reflect the surging joy in the song. And the setting also allows Smith's&nbsp;unassuming personality to emerge on-camera&nbsp;in a charming fashion.

Annabel Bennett

Charlie Morris

Wendy Hou

Auden Albloosh

Taz Tron Delix

Amanda Mcdonnell

Kat Cattaneo

Shane Moore

Ava Rikki

Dave Gelb

Evan Brown

Ali Pensyl

Shawn Mccloskey

Gino Varisano

Hanna Hamilton

Fre Howard

Ali Ciotto

D-fran

Whitehouse Post

Alex Gregory

Harbor Picture Company

Singer-songwriter

Myles Smith 'Gold' by Taz Tron Delix

Myles Smith - Gold (Official Video)

Harv Frost directs a gripping promo&nbsp;for indie rock outfit Black Honey where lead singer Izzy Baxter Phillips is a prisoner, confronted with&nbsp;a barrage of distressing&nbsp;scenes.Rather than Hitchcock - as the songtitle might suggest - the&nbsp;video for Psycho&nbsp;pays homage to&nbsp;Kubrick - in particular the notorious 'aversion therapy' scenes in A Clockwork Orange. Like Alex in the movie, Izzy is similarly strapped to a chair, repeatedly forced to watch a fast-cut montage of&nbsp;traumatic imagery, monitored by Establishment males, played by her bandmates.&nbsp;&nbsp;&nbsp;Izzy falls into a hallucinatory cycle,&nbsp;catching eye of a shocking image - and it is quite a shock - as she is led to the chair. She gives a captivating performance as her&nbsp;mental state deteriorates, and then escapes her captivity to find the paraphanalia driving her torture.But is she a Psycho? Harv Frost draws the viewer&nbsp;closer to Izzy and keeps the viewer guessing right till the end.&nbsp;[imgtoken data:1]&nbsp;

Katie Harris

Johnny Richards

Luca Brewster

Black Honey 'Psycho' by Harv Frost

Black Honey - Psycho

Harv Frost directs a thought-provoking promo for New York rock band&nbsp;Sunflower Bean, addressing a song about the complex aftermath of trauma.The video for&nbsp;There's A Part I Can't Get Back sees the band members in vintage blue-hued vignettes, performing and working together to push a statue across a church, from the darkness back into the light. Its a symbolic action that reflects the powerful sentiments of the song.A powerful visual,&nbsp;which steadily builds&nbsp;to a beautifully cathartic, healing moment.&nbsp;The triumphant efforts of the group represent&nbsp;their solidarity,&nbsp;supporting one another through disorientation and recovery.&nbsp;“This song is about the lasting scars of grooming - the parts of yourself that are stolen and the anger you carry because of it,” explains frontwoman Julia Cumming. “I didn’t want to write a song about being healed, I wanted to be angry about needing to heal at all.”

Jai Durban

Crista Simiriglia

Liv Kininmonth

Anita Okpongete

Irys Steel

Ant Belle

Emily Leggett

Ayopo Abiri

Sunflower Bean 'There's A Part I Can't Get Back' by Harv Frost

Sunflower Bean - There's A Part I Can't Get Back

Harv Frost directs an absorbing girl-meets-girl promo for Manchester rock band Picture Parlour, where vocalist Katherine Parlour makes a play for the girl of her dreams - bandmate Ella Risi - at a Northern Soul club.Taking place at the fictitious venue&nbsp;The Parlour, the video for Who’s There To Love Without You?&nbsp;is an atmospheric ode to youth and finding yourself, and all the strangers and adventures along&nbsp;the way.Intimate, in-your-face camerawork by DoP Adam Singodia and a breathless edit&nbsp;by Geri Docherty&nbsp;help to build the energy and suspense, as Katherine finds her initial advances to the club's DJ (played by Ella)&nbsp;rebuffed.Frost's skill with dramatising the world of the bandmates and their characterisation grounds the fantasy in a recognisable - if brilliantly heightened - reality. And she&nbsp;provides this&nbsp;sapphic and sensual tale with an explosive finale...Katherine knuckles down&nbsp;to the cause, eventually leading to a return to the Northern Soul&nbsp;night at The Parlour - and a steamy bathroom stall hook-up.[imgtoken data:1][imgtoken data:2]

Jack O'Mullane

Renäta Fabri

Chrissi Smith

Mykola Bulavskyi

Sam Johnson

Jess Averbeck

Andi Chu

Picture Parlour 'Who’s There To Love Without You?' by Harv Frost

Picture-Parlour--'Who’s-There-To-Love-Without-You?'-by-Harv-Frost

Sugababes are back with an instant classic, and a very slick promo from&nbsp;Dora Paphides.The video for Jungle finds the trio in a vast office space, where a menagerie of artistic vignettes unfold.&nbsp;Switching up between performance, choreography and abstract cutaways, it has all the markers of a classic Sugababes video, filtered through a mature, contemporary lens."I think I approached this video from a fan perspective," explains Paphides.&nbsp;"I’ve loved the Sugababes forever so this was an instinctive thing to do. I sort of thought, what would get me excited watching a new Sugababes video, and led with that instinct."The concept was an editorial/pop take on day and night. I wanted to create this sense of night time and things aren’t what they seem at night.&nbsp; This translated into these office scenes, where the band slowly break out and enter the rave. Blink, and you might miss something. I wanted to create this sense of being in the dark and misinterpreting something you’ve seen. Or being drunk and trying to remember what happened."I looked a lot at Kito Munoz’s work, previous Prada and Rick Owens campaigns... I wanted the classic pop video to have a fashion edge."[imgtoken data:1][imgtoken data:2][imgtoken data:3]