OB Management

Production Company

Lowkey Films

Claryn Chong

Claryn Chong on the innovative visual campaign for Biig Piig: 'She brought me the characters, I brought them to life.'

Biig-Piig-'4am'-by-Claryn-Chong

Biig-Piig-'Decimal'-by-Claryn-Chong

Claryn Chong directs a sensual exploration of blossoming love, in her promo for Biig Piig.&nbsp;The video for Decimal focuses in a couple’s relationship, intimacy and feelings of being in love;&nbsp;they’re hanging out in the bedroom, laughing, kissing. There's a faint knock at the door, but they can't hear it, lost in the track and each other's bodies.&nbsp;Peppered with fast-cut still image portraits and increasingly vibrant lighting, it's an ultra-intimate yet carefree visual, which exudes a sense of freedom and adventure.&nbsp;

Annie Tinsley

Tara Bartlett

Sylvie Briggs

Lea Ogumlami

Ken Liew

Lawrence Hughes

Joe Starrs

Arthur Attenborough

Shee Won Park

Mara Ciorba

Harbor Picture Company

RCA Records

Biig Piig 'Decimal' by Claryn Chong

Claryn Chong directs a stripped-back visualiser for Biig Piig's 4am.The video follows a young boy's journey through the city, as he listens to - and lip syncs some lines of - the track.&nbsp;Escaping the commotion of his mother and brother arguing at home, it's a simple yet intimate character study.&nbsp;Elevated by DoP&nbsp;Lawrence Hughes' naturalistic cinematography, it's a cinematic visual for a heartfelt track.&nbsp;

Betty Agency

Benny

Aisling Knight

Sheewon Park

Biig Piig '4am' by Claryn Chong

A tumultuous, life-changing relationship is examined in Claryn Chong's evocative promo for Girli.&nbsp;The video for Nothing Hurts Like A Girl is a riotous, colourful trip through a relationship, from first sight to last argument, played out by Girli and co-star Queen Velveteen.&nbsp;The highs and lows are explored in raw detail, as a montage of dreamy vignettes play out on screen.Textural, gritty and real, it's a deeply intimate video with beautiful art direction and styling, and confident direction from Chong.&nbsp;[imgtoken data:1][imgtoken data:2]

United Kingdom

Macy Trieu-Dingle

Alex Carswell

Suzie Walsh

Kate Shelley

Abi Hurcomb

Nathalie Pitters

Lily Ashton

Rose Esme Lucas

Ollie Pearson

Rebecca Richards

Eirelin Adams

Yong-Chin Breslin

Andi Chu

Electric Theatre Collective

Girli

Queen Velveteen

Girli 'Nothing Hurts Like A Girl' by Claryn Chong

girli - Nothing Hurts Like a Girl (Official Music Video)

James Arden directs an emotional&nbsp;promo for Cian Ducrot.&nbsp;The video for Part Of Me explores depression and suicide in a deeply moving and respectful way, using the&nbsp;main character and his close friendships to tell a story that is both personal and universally relatable.Featuring an intimate performance from Ducrot himself, it's a beautifully executed piece of work&nbsp;which tackles a difficult subject matter with care. The naturalistic aesthetic and subtle performances drive&nbsp;home just how real and important the subject matter is, and the whole concept lingers long after watching.&nbsp;

Millie Wilkie

Set Sisters

Ada Matylda

James Arden

Scarlett Anderson

Joanna Szyczewska

Harry Buck

Adam Barnett

Zorica ŠaliĆ

Phil Heron

Patrycja Cygan

Lizzie Checkley

Beth Roberts

Ten Three Editing

Cam Sander

Ben Hardy

Polydor

Cian Ducrot 'Part Of Me' by James Arden

Cian-Ducrot-'Part-Of-Me'-by-James-Arden

Claryn Chong imagines a different way of living, inspired by intimate relationships between women in the 18th and 19th centuries in her bold and sensual video for Girli.For Matriarchy, the director and artist have pondered on what that matriarchy might look like, if it existed. Shot by a largely female crew, the video refers to the past and gives it a refreshing, modern and aspirational twist. With a female gaze.

Macy Trieu Dingle

Lola Cookman

Jeff Celis

Rose Lucas

Svetlana Miko

Carl Dunn

Laura Flack

Kirstin Hogg

Ella Douglas

150mg

Ellie Bond

Charlie Fitzjohn

Rebecca Quinn

Work Editorial

Caroline Morin

Chloe Filani

Nim Longley

Mia Singh

Girli 'Matriarchy' by Claryn Chong

Girli-'Matriarchy'-by-Claryn-Chong

Recent <a href="https://lowkeyfilms.co.uk/" target="_blank">LowKey Films</a> signing Claryn Chong and English Teacher introduce&nbsp;us to the weird energy of Slab Man and the slightly disappointing sights of Colne, Lancashire - including the world's biggest paving slab...&nbsp;&nbsp;The whimsical concept of the video for The World’s Biggest Paving Slab, following the eccentric main character in his haunting headpiece on his apathetic guided tour, has an enimatic, slightly nightmarish quality. But it builds to a stunning performance section by this exciting new pop-punk outfit.Suddenly, the band are backdropped by stunning&nbsp;green landscapes in an almost dreamlike climax. After the drabness that has preceded it, we're in a pocket of absolute beauty. Maybe that's what Slab Man was trying to show us all along...

Robbie Canale

Milo Beyts

Sarah Tucker

Sarah Palmer

Danny Usman

Alex De Palma

Dana Keren

Mayuko Nakae

Azusa Matsumori

Connor Coolbear

Sonny Mitchell

Island Records

Indie

English Teacher 'The World's Biggest Paving Slab' by Claryn Chong

English-Teacher-'The-World's-Biggest-Paving-Slab-'-by-Claryn-Chong

London-based director, photographer and creative director Claryn Chong has joined the directors' roster at Lowkey Films.Chong&nbsp;has worked with Holly Humberstone, Baby Queen, Thomas Headon, NiNE8 Collective, and more, and her music video credits include Baby Queen's Dream Girl, Holly Humberstone's Scarlett, NiNE8's Noodle Poodle and Crawlers' That Time Of Year Always.Originally from Singapore and raised in Australia, Chong's work is tied to youth culture, nostalgia and the transience of adolescent emotion. She takes a lot of inspiration from her diasporic experiences, the diverse cultures she has grown up with and both traditional filmmaking techniques and DIY and analogue processes."We are so excited to welcome Claryn to the Lowkey family!" says Lowkey Films' Head of Music and EP Tara Bartlett.&nbsp;"She embodies the word creative, with her playful and rich visual ideas stretching across many mediums - video, photography, creative direction and more. Beyond her creative talent, she is a rare gem of a person, with an infectious energy that is infused into every set and into every piece of work she creates! I can’t wait to continue our collaborative journey together."• Watch Claryn Chong's work on the Lowkey Films website <a href="https://lowkeyfilms.co.uk/director/claryn-chong" target="_blank">here</a>

Lowkey Films sign Claryn Chong

James Arden - aka The Trash Factory - directs a video for songwriter and mulit-instrumentalist Deyaz about overcoming the darkness and finding the light.In the promo for Bones, Deyaz is struggling through a wood at night among zombie-like figures, but manages to free himself from the ropes that hold him back.It's a simple, strong idea that is given convincing weight by its execution, including the otherworldly forest setting, cinematography by Jack Reynolds and grade by&nbsp;Dominic Phipps -&nbsp;and TTF's direction of Deyaz, evidently an intriguing new artist.

Joshanne Dar

Sarah Adewunmi

Ellora Soret

James Loach

The Trash Factory

Ella Woolgar

Mike O'Keefe

Tom Northam

Jack Reynolds

Sofia Wilkinson-Steel

Elle Lotherington

Grant Sandy Phillips

James Brown

Liam Morgan

Rich Woolway

Homespun

Dominic Phipps

Company 3

This & That Media

Black Butter Recordings

Deyaz 'Bones' by The Trash Factory

Deyaz-'Bones'-by-Trash-Factory

<h3>In the latest of our series asking British music video-makers about their experiences last year and thoughts on this year, we grabbed some time with Tara Bartlett, Head of Music at&nbsp;Lowkey Films.&nbsp;</h3>Tara joined Lowkey last autumn, returning to music video production following a stint in 360 digital creative services, and she has interesting things to say on a subject that a lot of people are thinking about: making creative content in the shifting landscape of online platforms. She also has ideas about where we can find "the new MTV"...&nbsp;&nbsp; &nbsp;<blockquote>I definitely think we can use social platforms to our advantage as creatives.</blockquote>2022How would you describe last year in a few words?Full of surprises.&nbsp;What was your favourite project or projects you worked on last year?I only got to join the Lowkey team at the end of last year - but I remember Inhaler’s video for&nbsp;Love Will Get You There, by our brilliant director James Arden, was being delivered that first week that I joined. The video throws it back to Top Of The Pops performances and 80’s talk shows - shooting on 40 year old broadcast cameras with an audience full of real fans. A shoot I know was a lot of fun and I’m sure would have been a personal favourite too.I would have loved to have been there for Vasilisa Forbes trio of videos for Pale Waves too! Living out everyone’s American Beauty bed of roses dreams. Also just a great example of building relationships with artists, and focussing more on the wider campaign rather than just one piece of content. I think more collaboration in that sense is so important, and really helps to join the creative together a little more, to make campaigns feel connected visually.[vidtoken data:0]Above: Inhaler's Love Will Get You There, directed by The Trash Factory (aka James Arden)What were the best aspects of the job last year?I always have the same answer, but it's the people, every time.&nbsp; What were the most challenging aspects of the job last year?&nbsp;More ever-growing platforms and audiences to navigate and entertain than ever! For lots of projects, as well as great ideas, companies and creatives also now need to have social expertise, and understand audience behaviour across these platforms, for ideas to get the engagement they need (and deserve!).&nbsp;Definitely a challenge, but it can also be fun working out how to win the attention of multiple audiences. Best or favourite video or videos last year that you weren’t involved with?I love watching how Gorillaz continue to build that iconic visual world. It’s genius and timeless. I think the <a href="https://www.youtube.com/watch?v=S03T47hapAc" target="_blank">Cracker Island video</a> just proves that they’re always one step ahead, musically and creatively. The avatars make more sense than ever now within the creative landscape and this video so seamlessly shows that off.&nbsp;And I came across Zac Dov&nbsp;Weisel’s video for <a href="https://www.promonews.tv/videos/2022/06/13/rodney-chrome-money-zac-dov-wiesel/76793" target="_blank">Rodney Chrome's To The Money</a>&nbsp;in a real Instagram hole one evening, and thought it was one of the most fun videos I’d seen in ages. 100% the kind of set I’d love to be on. You can feel the energy is there behind the camera as well as in front of it. This video made me smile a lot - and miss New York.[vidtoken data:1]Above:&nbsp;Pales Waves's Clean, directed by Vasilisa Forbes&nbsp; What were the trends (creative or otherwise) that you thought were most striking last year?A friend of mine, multidisciplinary creative Jack Bridgland, did an amazing shoot with Robert Patterson for GQ, which I think was a big creative moment last year. It was for an article called the Metamorphosis of Robert Patterson, talking about how he defies expectations as an actor, and the shoot that runs alongside this interview proves that. It’s bold, and it got people’s attention - this was a version of him no one had seen before, or knew they needed to see. I think that foreseeing what audiences won’t expect, is an amazing creative skill.What were&nbsp;other cultural highlight (or highlights) of the year?Creative direction and 360 visual world-building, even extending into physical activations, or products - like Lewis Capadi’s ‘The Big Sexy Cheesy’ pizza. You can have so much fun with it.&nbsp; Any other personal experience that defines 2022 for you?Joining Lowkey. I genuinely couldn’t be happier to be working alongside such wonderful and talented people, with such an honest and value-led way of working. Definitely defines the year for me - and the years ahead - I’m so excited for 2023. It’s going to be a big and bright one!<blockquote>There’s lots of work going into developing the music department at Lowkey. 2023</blockquote>What are you looking forward to this year – both for work and for other parts of your life?Good energy! In every aspect, spending time and sharing creativity with great people, both in and outside of work.&nbsp; Have you set work objectives for this year and if so, what are they?Lots! Big and small, I think it’s so important to set goals - and allow yourself to dream a bit. There’s been lots of work going into the development of the music department at Lowkey - with new directors, new offerings, knowledge and expertise to allow us to navigate the ever-evolving future of music and creativity. Making important and quality creative work (done with value at the heart) is at the forefront of them all. But more news on that soon.. Who are the up-and-coming talents that you think will break through this year – or at least deserve to be successful?I have met, and had so many great conversations with with amazing new talent in the last few months. From up-and-coming directors, to creatives that have previously been choreographers, photographers, creative directors, etc - who all have such a fresh and exciting approach to directing, and who I know are going to make big moves this year.&nbsp;To throw out one name - <a href="https://lowkeyfilms.co.uk/director/lusha-alic" target="_blank">Lusha Alic</a>, who was our newest signing last year - has the most incredible creative brain, in dreaming up high-concept ideas that surpass where anyone would expect an artist or brand could go.&nbsp;She’s also an amazing photographer, and a visual effects experimenter, so can build out amazing visual worlds - across multiple media.&nbsp;<a href="https://www.instagram.com/claryn.chong/?hl=en" target="_blank">Claryn Chong</a> is also another creative force (and amazing human). I’ve had the pleasure of being with her on set a couple times already this year, and I know she’s going to do big things, and I couldn’t be more excited for her.Some others we’re excited about at Lowkey, aside from the existing roster (who are also cooking up new approaches to music videos and content this year), will definitely be shouted about very soon.&nbsp;[vidtoken data:2]Above: Die Antwoord, by Lusha Alic<blockquote>I think positioning music videos as more of an event is a really smart way to hold engagement.</blockquote>What is your prediction for the direction of the industry in 2023? And what will be the big trends for the year ahead?I think it’s like I said before, with the standout creative moments of the last year - expect the unexpected. More than ever, audiences are craving a constant stream of newness, and we need to be served creative content that feels like nothing we’ve ever seen before, to actually stop and engage.&nbsp;2022 felt like it was very single release-driven, with a lot of artists holding back or working on albums for this year. I think visual albums could be a big one this year. Artists like Sampha, Beyonce, Solange, etc, have done these so well in the past, and I think positioning music videos as more of an event is a really smart way to get attention and hold engagement. I feel like these are also such win-win creative opportunities for both directors and artists. We get to be incredibly creative, whilst artists also get to take their audiences on the journey in which their music was intended.&nbsp;I’ve seen a few artists starting to use the storyline feature more on Spotify - to give more context to their music - and I think there’s a lot of appetite for it from fans. Maybe the canvas’ could become full-length music videos, and the streaming platforms could be the new MTV's...&nbsp;Any other comments about the current environment for music video production and music video creativity? What are the issues that we should be most concerned with?I think we are a lot at the mercy of the audience demographics, and the unpredictable change in the purpose of online platforms. Music videos haven’t become any less enjoyable - if anything, they are more so - but it feels like they may be currently battling for their place on platforms like Youtube, which is becoming more like a platform where most of its audiences engage in longer-form content, or content which feels more like an ‘event’, or tells a story.&nbsp;They definitely still have a place on these platforms, and don’t think we need to (or should!) start shooting music videos for only vertical. But we need to think about who and where three minute videos are most likely to be consumed - currently IG reels, TikTok, etc - and how we really optimise them for these channels so they get the recognition they deserve. And how can we create genuinely engaging promotional assets (not just cut-downs), so that audiences on these platforms are drawn to go and watch, and appreciate these music videos as they've always been intended.<blockquote>We need to think about who and where three minute videos are most likely to be consumed.</blockquote>Where are the opportunities in the current environment?I definitely think we can use social platforms to our advantage as creatives - looking at content packages as an opportunity to extend the narrative of music video ideas, beyond those few minutes, and allowing the creative work to live on.&nbsp;Have you made any personal New Year resolutions? And if so, how’s it going?Had to revisit my notes app for this, which shows how well they’re going. But apart from the obvious and the annual,&nbsp;I want to go to more gigs again this year. I definitely did less of that in 2022. And spend more time listening to my favourite, or new albums, outside of working/commuting, etc!• Tara Bartlett is Head of Music at <a href="https://lowkeyfilms.co.uk/" target="_blank">Lowkey Films</a>

State of Play: Tara Bartlett, Lowkey Films

Inhaler-'Love-Will-Get-You-There'-by-Trash-Factory

Pale-Waves-'Clean'-by-Vasilisa-Forbes

DIE ANTWOORD Cape Town '19 by Lusha Alic

<h2>Tara Bartlett is the new Head of Music at Lowkey Films. We talk to her about her plans, and find out how her experience making different types of creative work for artists will impact on her role.</h2>&nbsp;She began in music video production, involved in some groundbreaking work at Partizan. Then she went into a different, all-encompassing type of production of creative at WMA&nbsp;- working on '360' content&nbsp;for a number of leading music artists.Now she has joined&nbsp;Lowkey Films, one of London's most forward-thinking music video production companies, as Head of Music.&nbsp;And its fair to say that her previous job - Global Director of Film and Photography at WMA - means that Tara Bartlett is bringing a distinctive perspective to her new one.&nbsp;In that job, Bartlett was involved in both video and stills shoots for artists including&nbsp;Louis Tomlinson, Olivia Rodrigo, Easy Life and more. She was also helping to redefine what we used to think of as content.So we talked to Tara about her plans at Lowkey - and how the humble music video can prosper in the complicated landscape of creative content.<blockquote>There's a question of what music videos are going to end up being in the next five years.</blockquote>PROMONEWS: How would you describe your new role at Lowkey Films?TARA BARTLETT: I feel like it's a perfect blend of everything that I've been doing up to this point. Music has always really been what's driven me throughout my career!&nbsp;My first in-house production job was at Partizan, where I worked about seven years ago, and I was primarily working on the music videos in my just under two years there. Then in my recent job, at WMA (Weller Media Agency), which is a 360 digital creative service agency for music artists [including Olivia Rodrigo, below], I was heading up the film and photography department, and working on multi-platform creative content.Lowkey, with both its progressive approach to the work we create and how we create it, felt like the perfect place for me to bring these two worlds together, and expand even further with the expertise Lowkey has in the long form space.&nbsp; Head of Music felt more appropriate than Head of Music Videos as there is so much creative to be made in the music space and across so many formats - music videos, photography, short form content, music documentary - the list goes on.[imgtoken data:1]Above: Olivia Rodrigo, client of WMA where Tara Bartlett&nbsp;was Global Director&nbsp;of Film &amp; Photography<blockquote>There's an amazing space for music videos, to use&nbsp;social platforms to our benefit - and create assets that can extend the creative or narrative of the main promo video, in an exciting and purposeful way.</blockquote>How are you bringing your experience to your new job at Lowkey?TB: Lowkey is already established in the music video space, with our great roster of directors, and making powerful narrative work in the feature world.&nbsp;What I'm so excited about with Lowkey, as well as a continued focus on music videos - is to expand our music offering across multiple platforms. With my experience across digital creative, and Lowkey’s expertise in narrative and feature, I’ll be expanding the department across content, photography, and in longer form music documentaries and narrative pieces. There’s a huge appetite from streaming platforms and independent distributors, for music documentaries, where pre-existing audiences already exist.There’s lots of conversation industry wide on how we can best navigate the landscape right now, but I think there's an amazing space for music videos, to use social platforms to our benefit - and create assets that can extend the creative or narrative of the main promo video, in an exciting and purposeful way.&nbsp;I'm personally so excited about what we can all achieve. [Lowkey co founders] Connor [O'Hara] and Jamie [Gamache] are so supportive, and of the direction for the department. Our directors we already have on the roster, are also all multidisciplinary creatives in their own right - in that a lot of them are already also photographers, designers or DOPs, so also really understand the landscape we’re working in - I think we’re all really excited about where we can push it, with considered creativity at the forefront always.&nbsp;How do you feel things have changed in the music video world?&nbsp;TB: I think people in the industry are definitely questioning what the music video will end up being in the next five years. It's quite exciting for me to come at it with fresh eyes -&nbsp; having gone from solely music video production, to focusing on creative in the digital space, and to now be in a position where we’re all thinking about how we can blend the two.It’s definitely more social consumer and engagement focused now as audiences are wanting bespoke content across all different platforms. Therefore, we as creatives have to think further than just the 'cut down' and consider a wider content approach upfront - ensuring that the main music video can be promoted in the right way to achieve success.[vidtoken data:0]What were your highlights of working&nbsp;at Partizan?TB: There were loads of exciting stuff in the music space happening, which luckily I&nbsp;got to be a part of. Dexter Navy had just signed to Partizan, and we did the A$AP Mob&nbsp;music video for Money Man/Put That On My Set -&nbsp;featuring A$AP Rocky, A$AP Nast, Yung Lord and&nbsp;Skepta - which&nbsp;ended up being a twelve minute short film. That's a favourite.We also did <a href="https://www.promonews.tv/videos/2017/02/06/nines-ft-j-hus-high-roller-nines-chris-day/45938" target="_blank">Nines and J Hus</a>, Sean Paul and Clean Bandit's Rockerbye, <a href="https://www.promonews.tv/videos/2016/09/01/jax-jones-ft-mnek-mike-dunn-house-work-ozzie-pullin/43355" target="_blank">Jax&nbsp;Jones ft MNEK</a>, Alma - and more! It was definitely my crash course into production - and lots of hilarious moments and often very stressful! But I&nbsp;learned so much and got to work with so many amazing people in production, and also with directors doing incredible things.<blockquote>[The job] changed very quickly, as content became so much more important in the music space.</blockquote>What were your big projects while working at WMA?&nbsp;TB: There were lots of projects at different scales that I worked on in my five years there - development projects to global artist campaigns, every one was so different. When I started in 2017, the creative team was servicing a lot of the more ‘content creation’ projects as we understood it at the time - anything from behind the scenes, to stills and shorter form video shoots for various platforms. But that changed very quickly, as content became so much more important and considered in the music space.&nbsp;A big part of my role was also working really closely with the talent that we had, both in-house and on our global network. A lot of them went from content creators and photographers initially, to now incredibly established directors and photographers, all doing amazing things in the music and brand space today.&nbsp;[imgtoken data:2]We produced and shot a lot of big artwork shoots, for the likes of Aitch and Louis Tomlinson [above], worked a lot with Ellie Goulding on her wider marketing content - capturing and creating stills and video assets, often captured on the set of her music videos, that carried out the creative campaign across platforms. We also did a big campaign with Mumford &amp; Sons. One of our photographers at the time, Louis Browne, captured an amazing photo series with them, which was plastered all over the tubes in London, which I know was such a fun project and a nice moment for him to see that work stretched in so many places.We worked with global music talent, but also with developing artists to actually build their&nbsp; creative direction from scratch. We’d come into early conversations with management and label, working collaboratively to shape a creative lane for them, which would eventually become their creative identity as an artist, and influence all creative output across their campaign - stills, music videos, social content.<blockquote>I think we're going to crack TikTok very soon - so artists can avoid the trends, and we can create wicked content for them.</blockquote>More recently we did full creative direction for artist Jack Newsome, including all stills - social, press, single and&nbsp;album artwork - and three music videos across the album campaign - including Arms, directed by Louis Browne - logo and artwork designs, live sessions, social&nbsp;content, etc.&nbsp;We also did full creative direction for Olivia Lunny - again including all stills and three&nbsp; music videos across the campaign - including the one for Sad To See You Happy (below).&nbsp;[vidtoken data:1]So do you think that in general music videos need to fit in with a bigger '360' picture&nbsp; better than they have done in the past?&nbsp;TB: Well, in general, yes. I think a nice example of this are the recent videos for The 1975, by Samuel Brady, which as a consumer you really feel like you’re being told a story over the course of the videos, which is what so many albums sonically or lyrically want to do - so it makes sense for the creative to do this also. The videos are also incredibly cohesive with the entire creative direction of that campaign, so any assets you see - instantly take you to that intended visual world.&nbsp;I think especially where the albums themselves tell a story, there's an interesting opportunity for the promos, and wider content, to be able to do the same through the visuals. Almost treating music videos like mini-movies! You can have vignettes of the characters you see in the video’s, living on Instagram, or other platforms that give your audience a deeper dive into the world and narrative. We as creatives can have so much fun with that.&nbsp;There is absolutely still a space for those one-off, out-there, crazy promo videos that almost purposefully feel out of character from an artists recognised creative identity - I love those - and that’s what gets people talking. But largely, I think it’s important to look at an artist's creative more holistically, and for the music videos to feel like a considered part of that - as that’s what gets an audience really understanding them.[vidtoken data:2]Is TikTok-based content part of this larger content landscape?&nbsp;TB: TikTok is an interesting one! Not surprisingly, it was something that I had a lot of&nbsp; conversations around at my previous job, being in the content space, and am continuing to have with labels now.&nbsp;I think there's much more exploration to do from a creative side, because it is still very much a user-generated space, and very personality-led - so it often feels harder to blend into a creative direction that is more visually led on other platforms.&nbsp;Saying that, I think there's still a massive space for it, and it may almost just need some reframing from a music perspective. Video lengths on the app are getting longer, and I’m seeing more and more creativity in the content on there than ever. I think we’re going to crack it very soon - so artists can avoid the trends and we can create wicked, organic content for them![vidtoken data:3]&nbsp;Above: Bartlett worked with&nbsp;Equinox and The Dalai Lama&nbsp;to celebrate his album release of Innerworld&nbsp;and the track Humanity, released for The Dalai Lama's 85th birthdayAre you looking to expand the roster? Any&nbsp;new signings?Absolutely - whilst we’ll always want to keep the roster small and considered, to allow the directors to really thrive, but that’s a real focus for me over the next six months. I have already been having some great conversations with some incredibly talented directors and creatives, so that’s definitely something that’s in the works.We've also just signed the brilliant&nbsp;<a href="https://lowkeyfilms.co.uk/director/lusha-alic" target="_blank">Lusha Alic</a>, who is another multidisciplinary artist, who has shot artists like Billie Eilish, A$AP Rocky and Tyler the Creator. I’m so excited to be working with Lusha and transitioning her further into the world of music videos. She's already been pitching, and there’s a lot of excitement around her in conversations that I’ve been having - so hopefully we’ll be able to share something very cool from her soon.• See the music video roster at Lowkey Films <a href="https://lowkeyfilms.co.uk/directors" target="_blank">here</a>

Tara Bartlett joins Lowkey Films as Head of Music - "It's an exciting time for music videos to marry up with the content world."

A$AP Mob - Money Man / Put That On My Set ft. A$AP Rocky, A$AP Nast, Yung Lord, Skepta

Olivia Lunny - Sad to See You Happy (Official Music Video)

Jack-Newsome-'Arms'-by-Louis-Browne

Inner World: Dalai Lama x Equinox

The Trash Factory AKA James Arden directs a charming throwback to 80s television, in his video for Inhaler.&nbsp;The video for Love Will Get You There sees the group frolic through several late-night concepts, from The Late Late Show to a gunge-tastic gameshow.&nbsp;Packed full of personality and little easter egg throwbacks, it's an upbeat vision for an instantly catchy track - with plenty of playfighting and faux drama to create some conflict.&nbsp;"We shot this entirely on 40-year-old broadcast cameras that I’m honestly shocked we were able to get our hands on," Arden says. "I wanted to recreate the feeling of a world when terrestrial television ruled the airwaves and you could spend an evening skipping between channels."Visually, I was inspired by 1980s late-night talk shows, like Gay Byrne’s in Ireland, tacky game shows I used to watch after school and, of course, performances on The Old Grey Whistle Test and Top of the Pops."The best memories were always when things got a bit out of control live on air… this promo is about those infamous chaotic moments."

Benny Cassey

Yasmine Sabri

Trash Factory

Elva Zhu

Emily Jeffery

Semera Khan

Harrison Newman

Rui Jiang Ong

Jamie Gamache

Danny Stoker

Soraya Wright

Chrissy

Elaine Lynsksey

Katie Dymmock 

Coffee & TV

Ellie Pannett

Adam Galbo

Polydor Records

Inhaler 'Love Will Get You There' by The Trash Factory

Vasilisa Forbes continues her collaborative streak with Pale Waves, directing the theatrical promo for Clean.The video is set in a theatre, and explores the contrast between the intimate backstage world, (the inner-self) and ‘putting on a show’.Inspired by cabaret and Old Hollywood glamour, we see vocalist Heather backstage, draped in pearls and luxury styling, before appearing on stage with the band, playing to an empty room.&nbsp;Amplifying the dichotomy of reality and fiction, the video is peppered with surrealist moments - such as an homage to the iconic red rose sequence in American Beauty - and traverses the line between fantasy and the real world.&nbsp;

Vasilisa Forbes

Alessia Lendrum

Rae Lemeshow

Tom Nowell

Ruaraid Achilleos

Vanessa Mc Donnell

Ella Ezeike

Joshua Jacobs

Andy Gonsalves

Josie Rafter

Ernest Tu

Joel Spence

Isabel Alsina

Rebecca Cawthra

Daniela Rotaru

Glassworks

Dirty Hit

Pale Waves 'Clean' by Vasilisa Forbes

Bjorn Franklin and Johnny Marchetta direct a stirring promo for Henry Jamison's Make It Out, featuring Maisie Peters.&nbsp;In the midst of a volatile riot, two opposing sides find a moment of calm, which allows them to connect on a human level.&nbsp;As ever with the directing duo's work, this is&nbsp;beautifully shot, while the concept is universally relatable and thought-provoking - especially in a society as strained as the one we live in right now."Why can’t we just hug it out instead of fighting? We loved the idea of taking a high octane hostile environment and slowing it right down finding a beautiful moment where it’s not meant to be," explain the directors.&nbsp;"Maybe they might just make it out, maybe not but there is certainly hope in there somewhere."&nbsp;

CBA Casting

Franklin and Marchetta

Gina Burns

Bee Happy Media

Spencer Kelley

Sonny Horwell

Bjorn Franklin

Johnny Marchetta

Tom Thain

Mac Praed

Chloé Pack

Jack Parr

Savannah Forbes

Ultra Music Official

Henry Jamison ft Maisie Peters 'Make It Out' by Franklin and Marchetta

Henry-Jamison-'Make-It-Out-(feat.-Maisie-Peters)'-by-Franklin-And-Marchetta

The Trash Factory (aka James Arden)&nbsp;continues his collaborative streak&nbsp;with Dylan Fraser, with&nbsp;this transcendent ride for Vampire.The hypnotic visual&nbsp;sees Fraser holding onto featured artist Alaska&nbsp;Reid, as they ride a motorbike through coruscating lights and an abstract otherworld.&nbsp;The theme&nbsp;of showing your worst self in front of a loved one is&nbsp;visualised by a bold step into horror at the end, which acts as a perfect climax to the haunting yet surprisingly intimate promo.&nbsp;