Director's Representation

Mouthpiece

Dora Paphides channels heroines of classic literature and TV in her latest video for her sister Eaves Wilder.For enjoyably Britpop-influenced The Great Plains, Dora and Eavie repair to open countryside, for some energetic cavorting and horseplay. In doing so, the film&nbsp;addresses aspects of the sisters' relationship - and we discover that Eavie is absolutely fine having a muddy face.Dora says it was a special project for all sorts of reasons, including the fact that they are sisters. "This video looks back at us growing up," she confirms. "At Eaves feeling too tomboy for the games I wanted to play, and figuring out where she fit."It’s about that push and pull between the 'feminine'&nbsp;and 'masculine'&nbsp;parts of yourself, in quite a traditional way - whilst Eavie also being a rockstar."We spent a while looking at Pride and Prejudice, Little Women (all versions), Wuthering Heights (all versions), Little House On The Prairie, to create a new, hybrid world - a space where girlhood and sisterhood lives between what’s expected of girls and women."

United Kingdom

Jack O'Mullane

Thea Dagnaud

Dora Paphides

Ben Plimley

Harry Kingdon

Kode

Adam Barnett

Tanmoye Khan

Patrycja Cygan

Geri Docherty

The Quarry

Daniela Rotaru

Time Based Arts

Eaves Wilder 'The Great Plains' by Dora Paphides 

Eaves Wilder - The Great Plains (Official Video)

Lambrini Girls make a deal with the Devil himself in Harv Frost's first video for the feisty Brighton punk duo.&nbsp;The promo for Cult of Celebrity launches the next phase in the Girls' progress&nbsp;with a stylish visual sensibility built around impassioned performance set-ups that put the power and songwriting front and centre - plus&nbsp;a vivid cameo of a Satanic creature, usually seen in striking sillhouette.It's tight and tough - the mix of clever art direction with eerie atmosphere and a good dose of surrealism create a vaguely Lynchian feel -&nbsp;and the theme works with the typically astute and acerbic lyrics&nbsp;about the price of rock 'n roll fame.&nbsp;A rewarding&nbsp;introduction to a world that Harv Frost, their new creative director, is building around the Lambrini Girls."With this video, it was about tackling a very topical and equally sensitive subject matter," she explains.&nbsp;"The band always use their platform and songwriting to speak on different issues, and always deliver it so eloquently. This video was about getting a little bit literal with the visuals, and bringing their words to life."On this video I collaborated with DP Jack Hamilton for the first time, which was such a dream. He brought an editorial flare to their punk energy, which really adds and elevates their visual world I think and provides a great context for the message to exist within. [It's]&nbsp;the first video in my creative direction and collaboration with Lambrini Girls, and I’m looking forward to further fleshing out a visual world for them."[imgtoken data:1][imgtoken data:2]

Harry Crum

Harv Frost

Nahal Ashrafi

Mark Lane

Jack Hamilton

Nathan Killham

Azeen Porssa

Capucine Tavoillot

Tom Carpenter

James Kimmins

Skye Halsey

Dasha Taivas

The Hand Of God

Punk rock

Lambrini Girls 'Cult Of Celebrity' by Harv Frost

Lambrini Girls - Cult of Celebrity (Official Video)

<h3>He's a leading actor in House Of The Dragon, The Serpent and recent HBO drama Task - and also now proving himself as a director, making two impressive music videos and recently signing to Partizan. Fabien explains how moving behind the camera is a family affair and reveals the legendary band he would love to work with.&nbsp;</h3>What’s your background? Where did you grow up?FABIEN FRANKEL: I grew up in London. My mum is French Italian and my dad is Iraqi Russian, though his family emigrated to the UK in the 1940s and settled in the East End of London. So I grew up in London, but that’s my heritage.When did you start getting into films as a director or in another role?FF: I got into films as an actor. I trained as an actor and that’s how I got into films initially. I also grew up in a very cinephile family. My family really love cinema, so it was always around.What was the first film you made where you felt this could be a career move?FF: I was making a TV show as an actor in Bangkok and I bought a Super 8mm camera in New York. It was the first gift I ever bought myself from my first acting job. <a href="https://www.imdb.com/it/title/tt7985576/?ref_=nm_flmg_job_1_accord_2_cdt_t_7" target="_blank">I brought it with me to Bangkok</a>, where I was doing another acting job, and I shot a bunch of Super 8 footage out there. I then cut it together to Little Red Rooster by The Rolling Stones. I suppose it was my first kind of music video.<blockquote>I love the process of bringing different people together when you’re making films.</blockquote>Can you tell us about your first music video and how it turned out?FF: My first music video was for some close friends of mine who started a band called Memory of Speke. I had heard demos from what would become their first release, including a song called Wife Once, and I pitched them an idea to make a 17th century Restoration style music video. They went for it.[vidtoken data:0]Where do you draw inspiration for your own work?FF: Cinema is the obvious answer. That’s been my biggest inspiration, stealing from great filmmakers and trying to find what that becomes in my own work.There’s also definitely a love of masks in what I do. I’m not entirely sure where that comes from, but whenever I come up with an idea there often seems to be something involving people being masked in some way. Both of my music videos have had elements of that. There’s something about the sort of primal dance mask feeling that I seem drawn to.[imgtoken data:1]Above: Fabien (right) with Mark Ruffalo in HBO drama&nbsp;'Task'.What has been the most creatively rewarding non-music project of the past year or so?FF: I made a TV show called Task for HBO. I’m really proud of it and I had a great time making that show.What aspect of the job do you enjoy the most?FF: Working with my brother [Max Mark Frankel, producer of his videos for&nbsp;Memory of Speke and Peter Zummo] is definitely one of the things I enjoy most about my work. More generally, I love the process of bringing different people together when you’re making films. Finding people whose energy either matches yours or raises you up so that what you make in the end feels like a shared vision.[vidtoken data:1]Can you tell us about your next project?FF: I can’t say too much, but I'm making an independent movie for a really exciting studio and we’re about to start filming.Which artist or band would you most like to make a music video for?FF: From a nostalgic point of view, making something for The Rolling Stones would be incredible. Their music runs through so many of the films I love, especially that iconic Scorsese era. For the kid in me, that would be a massive deal.Career-wise, where do you hope to be in five years’ time?FF: My dream would be to direct a film. If in the next five years I could have directed my first feature film, I’d feel really proud of that.• Fabien Frankel is signed to Partizan, represented for music videos by Mouthpiece.

Partizan

ONE TO WATCH: Fabien Frankel

Memory of Speke - Wife Once

The Tape Is Chill by Peter Zummo Official Music Video

Erik He creates a very cool futuristic vision for the catchy collaboration between Irish dance artist&nbsp;Jazzy and&nbsp;London-based DJ and producer East End Dubs.In the visual artist's first project since signing to Partizan, He has taken a counter-intuitive approach to the uptempo&nbsp;On A Wave. His work&nbsp;blends sculpture, performance and moving image into striking contemporary compositions, and this sensibility runs through the film’s clean, stylised design.The pair are performing in what appears to be a gallery space - it was shot in&nbsp;Wayne McGregor’s Hackney studio - captured&nbsp;in stylish compositions. The video leans into a cool, silver-toned palette and a minimalist set design to create a refined, electronic visual world that mirrors the track’s driving pulse. This sets the scene, then He gradually&nbsp;introduces subtle elements of VFX as the track's momentum builds.Jazzy, the Dublin-born singer-songwriter behind dance hits including Giving Me and collaborations with Belters Only and Sonny Fodera, joins forces here with East End Dubs, a leading figure in the UK’s minimal tech-house scene who emerged from East London’s underground in the early 2010s.&nbsp;The result is a real statement for both the musicians and Erik He; a stripped-back but striking visual world that lets the track’s hypnotic energy do the talking.[imgtoken data:1][imgtoken data:2]

Erik He

Skye Goulding

Ella More O’Ferall

Danny Herman

Eno Enefiok

David Bird

Michael Mroczek

Matthew Vant

Ellie Koslowsky

Ella Fleur

Ellie Rimmer

Lorna Searl

Studio Wayne McGregor

Dance

Electronic

Jazzy x East End Dubs 'On A Wave' by Erik He

Jazzy x East End Dubs - On a Wave

BAFTA-nominated animator Honor Price has directed a&nbsp;stop-motion epic for two songs from the Icelandic band Of Monsters and Men's comeback album.Price's nine-minute film was created for the two-part album sequence The Block and Mouse Parade from All Is Love and Pain in the Mouse Parade, released last October.The film unfolds as two parallel narratives occupying the same space. Above ground, a solitary mouse-like figure runs endlessly in a cage before tumbling into a vast wilderness. What follows is a relentless climb up a mountainous rock face; a physical and emotional ascent marked by isolation and strain.[imgtoken data:1]As the track transitions into Mouse Parade, the camera descends beneath the floorboards into a hidden underground city. Where the figure above is disconnected and alone, this subterranean community moves as one - tightly bound, resilient, and interdependent.Honor Price says that she was drawn to the emotional duality in the songs. “I was thrilled to create this two-part film for Of Monsters and Men - building two parallel worlds through stop motion, puppetry, and layered multiplane sets."Rendered in tactile stop-motion, the film leans into texture, scale, and atmosphere. Humans appear strangely mouse-like, while the puppeted mice feel deeply human, subtly inverting perspective. The result is eerie, intimate and quietly devastating - a meditation on isolation, belonging and the fragile light we carry for one another.“We were excited to make the bulk of the entire video by hand using traditional handcrafted animation methods," says Price. "Specifically stop-motion, puppetry, and multiplane. By layering real sets on glass and compositing rod puppets into them, we created a fully tactile, dimensional world that we think evokes the themes and emotion of the tracks.”

Iceland

Honor Price

Leo Green

Jenny Beckett

Duncan Gaman

Laura Taylor

Rob O’Kelly

Sehar Kidwai

Ellen Beaufoy

Paul “Gripper” Flannery

Harry Cohn

Second Home Studios

Rob Brown

Edoardo Lazzerini

Alternative

Of Monsters and Men 'The Block' & 'Mouse Parade' by Honor Price

Of Monsters and Men - 'The Block' & 'Mouse Parade'

Chloe Qisha is out to get her a man - but she's going to have some fun with her girls first - in Iris Luz's effervescent video for YDH.Luz gives the concept of&nbsp;medieval courtly love a thoroughly modern makeover, as Chloe and fellow maidens in costume go out for the night to to find some knights. And when they do, head back to the hotel.In fact, in terms of steaminess and innuendo, the song does the heavy lifting. The video largely focusses on the fun - and on Chloe's star quality. And it makes that case very well.[imgtoken data:1]

Milly White

Sarah Banks

Iris Luz

Anastasia Liasi

Academy Films

Kat Cattaneo

Charlie Relph

Jennifer Byrne

Lexi Kiddo

Colum Ewart

Oli Hill

Toby Mckay

James Groves

Lewis Munro

Hiroshi Matsushita

Yolanda Dohr

Megan Lee

Harbor

Columbia Records

Chloe Qisha 'YDH' by Iris Luz

Chloe-Qisha-'Ydh'-by-Iris-Luz

Partizan has announced that Danny Herman is now heading it's Music Video division, while the music video roster at the London-based production company is expanding with the addition of five distinctive new directors: Ronan Day-Lewis, Gee Small, Erik He, Fabien Frankel and Ellius Grace.Herman has taken the reins of music videos at Partizan, while continuing to shape standout work across the company’s commercials slate. Nominated for Best Producer at the UKMVA 2023 and the recipient of numerous awards and nominations for his contributions to the music video landscape, Herman steps into this dual role as Partizan deepens its focus on music-driven visual culture and the next generation of filmmaking talent.The five new signings to the company's music video roster span a range of visual styles and creative disciplines, while sharing a focus on&nbsp;original ideas, precise execution, and a collaborative approach to working with artists and labels. Their work collectively pushes form and format while remaining grounded in strong visual identity and performance-led storytelling.<blockquote>Bringing Fabien, Gee, Ronan, Erik and Ellius into the fold fills my heart with joy -&nbsp;five distinct voices whose talent knows no boundaries.</blockquote><a href="https://partizan.com/director/ronan-day-lewis/music-content/" target="_blank">Ronan Day-Lewis</a> is a&nbsp;painter turned filmmaker, and fresh from the release of his debut feature Anemone, his work blends visual poetry with emotional precision. He's marked&nbsp;out as a rare multidisciplinary talent with a deeply cinematic eye. Dublin-based director and photographer <a href="https://partizan.com/director/ellius-grace/music-content/" target="_blank">Ellius Grace</a> boasts a refined cinematic style that is rooted in intimate portraiture and atmospheric world-building, which has made him one of Ireland’s most exciting creative voices. His work spans powerful collaborations with cultural icons, including Shane MacGowan, Sinéad O’Connor, Lankum, and even President Michael D. Higgins, demonstrating a rare ability to capture both the soul and the story of those he photographs and films.[vidtoken data:0] <a href="https://partizan.com/director/gee-small/music-content/" target="_blank">Gee Small</a> is a London-based director whose work is shaped by a background in acting, creative direction, and talent development. She has directed music videos for the likes of Hey Baby and the short film Baby, bringing an instinctive, performance-led approach to her storytelling. Founder of the modelling agency Gee Small Faces, her approach to storytelling is grounded in authenticity and presence. <a href="https://partizan.com/director/erik-he/music-content/" target="_blank">Erik He</a> is a&nbsp;visual artist shaped by a globally diverse upbringing across Asia, North America and Europe. Erik’s work brings together sculpture, performance and moving image to create a bold, contemporary visual language. <a href="https://partizan.com/director/fabien-frankel/music-content/" target="_blank">Fabien Frankel</a> is an actor and director whose international screen work informs a distinctive voice behind the camera. Alongside his brother Max, Fabien brings a storytelling instinct rooted in character, emotional nuance and atmosphere, expanding into an exciting directorial practice we’re thrilled to support.Each filmmaker brings a unique creative language and a strong commitment to craft, further strengthening Partizan’s position at the forefront of music video storytelling and visual innovation. Together, the expanded roster and new leadership structure mark a continued evolution of Partizan’s UK music video offering, with further projects and collaborations to be announced in the coming months.All the newly-signed directors and existing ones on Partizan's UK roster are represented for music videos by <a href="https://www.mouthpiecerep.me/">Claire Stubbs at Mouthpiece</a>.&nbsp;'I’m so excited to be back steering music videos especially at my own stable Partizan where music videos are the bedrock of everything we’re about," says Danny Herman."Bringing Fabien, Gee, Ronan, Erik and Ellius into the fold fills my heart with joy -&nbsp;five distinct voices whose talent knows no boundaries, and who sit perfectly alongside the brilliant directors already on our roster."• Partizan new music video directors roster&nbsp;<a href="https://partizan.com/directors/music-content" target="_blank">here</a>

Ellius Grace

Danny Herman leads Partizan's Music Video division - and adds five new directors

Partizan Fresh Music Video Roster

Harv Frost directs The Travelling Show for Manchester indie rock band Picture Parlour, part of the filmmaker's creative direction for the entire campaign, covering&nbsp;multiple music videos, visualisers, stills, artwork and merchandise.The video is a showcase of performance and narrative, interwoven in an abstract yet inspired way.&nbsp;With the campaign unfolding across different formats, it's&nbsp;a glimpse into the world Frost and the band have created."Working with Picture Parlour has been an exercise of true creative expression from our first meeting," says Harv Frost. "Being along for the ride on this campaign, and working alongside them in bringing the visual world of the record to life was a truly rewarding process."Our first video in the campaign, <a href="https://www.promonews.tv/videos/2025/05/06/picture-parlour-who%E2%80%99s-there-love-without-you-harv-frost/90934" target="_blank">Who’s There To Love Without You?</a>,&nbsp;is a love letter to Northern Soul and the venues that birthed the subculture that are now lost in time. {That] was an inspiring launching off point of what would become an almost seven&nbsp;month long friendship and collaboration.[imgtoken data:1]"Being a part of the campaign more holistically, right down to the album sleeve, press photos and the conceptual world that the album takes place in has been incredibly gratifying. The second video in the campaign for <a href="https://www.youtube.com/watch?v=P6lnvCfsod8" target="_blank">Cielo Drive</a>&nbsp;had me tag along on the bands writing retreat in Paris to self shoot them on Super 8 lurking streets, and I got to try my hand at shooting and operating Super 8 for the first time which was slightly nerve-wracking as I was fully expecting it all to be over or under exposed and we would have nothing to edit. Thankfully it turned out gorgeous, and was lovingly edited by Eden Read."The final video in the campaign is for me, by far a favourite. It’s a deeply personal track for Kate (the lead singer), and required a sensitive approach. For me, I set out with the goal of creating a character study, a video that focused on performance and ‘acting’ than I’ve ever done before."My overall goal being ‘I want to make people weep by the end of it’, and I certainly cried so that’s a win if you ask me. This video was a passion project in the truest sense, in which Kate and I had to really trust our relationship and lean on each other to bring out the performance. The first video and the last are spiritual sequels to one and other, with plot points, characters and emotional beats carried on from the first."

Jessica Lythgoe

Emily Barker

Louie Johnson

Charlotte Croft

Laura Flack

Georgia Hope

Imogen Perry

Dan Levy

Rock

Indie

Picture Parlour 'The Travelling Show' by Harv Frost

Picture Parlour - The Travelling Show

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]

Enrica Miller

Henry Richmond

Bad Bones Films

Jed Clist

Adam Singodia

Lily Roberts

Daragh Mccann

Rowan Hutchings

Omar Ragab

Macy Trieu-Dingle

Viktoriia Kostruk

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

Wojciech Czarkowski

Michael Lewin

Kian Altmann

Ollie Pearson

Richard Perry

Lauren Coutts

Electric Theatre Collective

Perrie 'Rocket Scientist' by Dora Paphides

Perrie - Rocket Scientist (Official Video)

Tyrus directs a coruscating, atmospheric promo for dance&nbsp;producer Sub Focus, featuring Fireboy DML and Irah.&nbsp;The video for Original Don is a quick-cut black and white promo, with enigmatic performance setups and feverish dance moves taking centre stage.&nbsp;Keeping things slick and simple, everything takes place in a large industrial space, with strobing lights and projections blurring together in frantic harmony.&nbsp;A rousing visual to get you off your seat.[imgtoken data:1][imgtoken data:2]&nbsp;

Alysha Patel

Kash Powell

Rory Clarke

Oliver Whitworth

Aga Dziedzic

Tyrus

Bertin Avdiu

Kim Jarrett

Ken Liew

Cassius Kane

Sarah Jaffe

Heza Jalloh

Katya Chatwell

Max Tuite

Ruby Yu

Lucy Grinham

Samuel Maton

Slink Post

Danyal Kadir

Island Records

Sub Focus Ft. Fireboy DML And Irah 'Original Don' by Tyrus

Sub-Focus-Ft.-Fireboy-Dml-And-Irah-'Original-Don'-by-Tyrus

The Rolling Stones' incredible history comes to life in Camille Boumans' fabulous mixed-media promo for The Stones's rollicking cover version of Shirley &amp; Company's Shame, Shame, Shame.&nbsp;The video is an explosion&nbsp;of The Stones' greatest moments, a vibrant archive of vintage clips and stills, unfolding through the&nbsp;pages of a&nbsp;packed scrapbook. It's a concept which allows Boumans to deliver a huge amount of information - vintage footage, lines of lyrics,&nbsp;a miscellany of textures - with lots of imaginative graphic ideas.&nbsp;It also feels hand-crafted, like it was stitched together with bits and pieces from the Stones archive with a lot of love - and as its a bit rough around the edges, with pure&nbsp;rock ’n’ roll attitude.[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Amy Hancock

Adolfo Redaño

Camille Boumans

Sharlene Oola

Joanna Asia Szyczewska

Semera Khan

Lauren Mills

Jack McGinity

Studio RM

Polydor

The Rolling Stones 'Shame, Shame, Shame' by Camille Boumans

The-Rolling-Stones-'Shame,-Shame,-Shame'-by-Camille-Boumans

Fred Rowson teams up with the evergreen Mael Brothers for the latest release in Sparks'&nbsp;50-plus year career, with a video featuring Rebecca Lucy Taylor - aka Self Esteem - and a steamroller.For Porcupine, a characteristically quirky Sparks song about a woman with a rather spiky temperament, Rebecca is&nbsp;cast as a femme fatale harbouring a vendetta, with keys to the very latest in steamroller technology.&nbsp;Cue low-speed thrills as Russell and Ron are faced with a vengeful Rebecca at the wheel of the&nbsp;Lamborghini of steamrollers.There can only be one possible outcome...&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

Katie South

Fred Rowson

Jack Bingham

Blink Productions

Stefan Yap

Paul Weston

Lottie O'Connell

Anil Duru

Ethne Read

Lauren Bell

Fey Carla Adediji

Byron London

Sam Sneade

Nielsan Bohl

Nicola Simmons

Selected Works

Sparks 'Porcupine' by Fred Rowson 

Sparks-'Porcupine'-by-Fred-Rowson

Iggy London returns to music videos with an effervescent affair for rising R&amp;B star&nbsp;Sekou.The delightful video for Catching Bodies features the young British singer strutting their stuff&nbsp;through a London estate&nbsp;on a hot summer's day, through the buzz of everyday life - and performing mostly to the camera on a shot tracking along the street.Iggy provides a uplifting sense of the joy in a sizzling summer's day in the city, elevated by the colour palette of Peter Bishop's cinematography and Tim Smith's grade.&nbsp;Above all, it's a vehicle for Sekou's distinctive personality and a song that should keep the summer vibes going for a while longer.[imgtoken data:1]

James Middleton

Sekou 'Catching Bodies' by Iggy London