Production Company

Somesuch

Tom Hardiman brings some welcome colour and pizzazz to some of the most mundane (and downright grim) places that Britain has to offer, in the guise of the irrepressible Viktor Viktoria and unstoppable A Man To Pet.&nbsp;Drag artiste A Man To Pet's iconic Christmas shows at the Love Affair Basement have become the festive season's must-see show in recent years - attended by none other than Jean-Paul Gaultier himself. And that same brand of unique chaotic drag madness finds its way to the big screen, with Pet accompanied by&nbsp;partner-in-crime Viktor Victoria.The video for I Love To Wear (Jean Paul Gaultier)&nbsp;is a fun-filled, bizarro journey through garden centres, recycling plants, farms, gyms&nbsp;and long-lost theatres, as Viktor and Pet evangelise their love for the one and only Gaultier.[imgtoken data:1] Working with the costume designer Lucy James, Tom, Pet and Viktor have now created a series of looks that reference legendary Gaultier outfits throughout the video. But with the additional&nbsp;air of homemade chic – from the toilet paper headdress in A/W 1992’s Europe of the Future to Gaultier’s first orange cone bra shown in his A/W 1984 Barbès collection.&nbsp;It's an utterly incongruous&nbsp;clash of artists and location that works brilliantly. A must-watch to brighten the mood as the nights start drawing in.&nbsp;

United Kingdom

Thomas Hardiman

Viktor Viktoria & A Man To Pet 'I Love To Wear (Jean Paul Gaultier)' by Thomas Hardiman

Viktor-Viktoria-&-A-Man-To-Pet-'I-Love-To-Wear-(jean-Paul-Gaultier)'-by-Thomas-Hardiman

Here are the nominations for the UK music genre categories at the UK Music Video Awards 2026 - including director, producer, production company, commissioner and label credit information where available.Credit information on the nominations on all the other categories at this year’s UKMVAs will be posted on Promonews in the coming days.The biggest party in music videos of the year, the UK Music Video Awards 2026, takes place at legendary venue&nbsp;The Roundhouse in&nbsp;London on Wednesday, November 4th at 7.30pm. Tickets are currently still on sale for this year's UKMVAs - <a href="https://www.ukmva.com/173-awards-show" target="_blank">more information here</a>.Best Pop Video UKHarry Styles – Aperture Director: Aube Perrie Producer: Elena Argiros Production Company: Division Commissioner: Bryan Younce Record Co: Columbia Records&nbsp;Charli xcx – Camera Director: Aidan Zamiri Producer: Jacob Swan Hyam Production Company: Object &amp; Animal Commissioner: Caroline Defranco Record Co: Atlantic RecordsMeek – Fabulous Directors: Sophie Muller &amp; Theo Adams Producer: Chris Murdoch Production Company: Prettybird Commissioner: Faith Holmes Record Co: BMGFLO – Leak It Director: Olivia De Camps Producer: Ella Kenny Production Company: SMUGGLER Commissioner: Dan Curwin Record Co: Island RecordsPinkPantheress + Zara Larsson – Stateside Director: Charlotte Rutherford Producer: Chris Murdoch Production Company: Casino Productions Commissioner: Zak Boumlaki Record Co: Warner RecordsCharli xcx – Wink Wink Director: Aidan Zamiri Producer: Maggie Curwin Production Company: Object &amp; Animal Commissioner: Caroline Defranco Record Co: Atlantic Records[imgtoken data:1]Best R&amp;B / Soul / Jazz Video UkAlewya – City Of Symbols Director: Mollie Mills Producer: Elliot Zelmanovits Production Company: Somesuch Director's Rep: Lee Fairweather at Leethal Reppin’ Commissioner: Chloe Anderson Record Co: London RecordsWesley Joseph Ft Jorja Smith – July Director: Wesley Joseph Producer: Jake River Parker Production Company: Stink Films Director's Rep: Alexa Haywood at Free Agent Record Co: Secretly CanadianEzra Collective Ft Pa Salieu – Only Love Director: Ebeneza Blanche Producer: Alex Ayo Production Company: SMUGGLER Commissioner: Jake Crossland Record Co: Partisan RecordsJoy Crookes – Pain Killer Directors: Ethan &amp; Tom Producer: Danny Herman Production Company: Partizan Director's Rep: Claire Stubbs at Mouthpiece Commissioner: Kat Cattaneo Record Co: RCA RecordsTom Misch – Sisters With Me Director: Juliet Klottrup Producer: Jack Hartley Production Company: Canada Director's Rep: Joceline Gabriel at Hands London Commissioners: Connie Meade, Duncan Murray Record Co: Beyond The Groove / AWALOlivia Dean – So Easy (To Fall In Love) Director: Jake Erland Producer: Rowan Mackintosh King Production Company: Park Pictures Senior Creative Commissioner: Louis Danckwerts Commissioner: Kim Jarrett Record Co: Capitol Records[imgtoken data:2]Best Dance / Electronic Video UkBarry Can't Swim – Dance Dance Dance! Director: Dan French Producer: Aleisha Digby Production Company: Stink Films Director's Rep: Alexa Haywood at Free Agent Commissioner: Annie Ayres Record Co: Atlantic RecordsFred Again.., Kettama &amp; Shady Nasty – Hardstyle 2 Director: Rubberband. Producer: Luca Chapman Production Company: SMUGGLER Commissioner: Lucy Hickling Record Co: Atlantic RecordsBonobo – Me And You Director: In/Out Producer: Maddy Smith Production Company: Riff Raff Films Director's Rep: Joceline Gabriel at Hands London Commissioner: John Moule Record Co: Ninja TuneOvermono – Pure Devotion Director: Rollo Jackson Producer: Precious Mahaga Production Company: Somesuch Commissioner: Scott Wright Record Co: XL RecordingsA.G. Cook – Residue Director: Aidan Zamiri Producer: Reese Layton Production Company: Object &amp; Animal Commissioner: Gabby Edzie Record Co: PC MusicKettama – Sort It Out Director: Hugh Mulhern Producer: Harvey Moore Production Company: Object &amp; Animal Commissioner: Jarred Kennedy Record Co: G–Town Records[imgtoken data:3]Best Rock Video UKBeabadoobee ft The Marias – All I Did Was Dream Of You Directors: Jake Erland &amp; AboveGround Producer: Sam Murray Production Company: Park Pictures Record Co: Dirty Hit/InterscopeThe Last Dinner Party – Count The Ways Director: Grajper Producer: Wojciech Czarkowski Production Company: FRIEND Director's Rep: Sam Davey at Hurry Sundown Commissioner: Studio Eye Record Co: Island RecordsMakeshift Art Bar – Discipline Director: Colin Peppard Producer: Claudia Mccormick Production Company: Rowdy Pig Commissioner: Heist Or Hit Record Co: Heist Or HitThe Rolling Stones – Jealous Lover Directors: Chris Barrett &amp; Luke Taylor Producer: Lexi Kiddo Production Company: Academy Films Director's Rep: Claire Stubbs at Mouthpiece Commissioners: Kirstin Cruickshank, Emily Jeffery Record Co: PolydorWolf Alice – Just Two Girls Director: Colin Sol Cardo Producer: Chris Murdoch Production Company: Stink Films Director's Rep: Alexa Haywood at Free Agent Commissioner: Michael Lewin Record Co: Columbia RecordsCharli xcx – Rock Music Director: Aidan Zamiri Producer: Myriam Schroeter Production Company: Object &amp; Animal Commissioner: Caroline Defranco Record Co: Atlantic Records[imgtoken data:4]Best Alternative Video UkJim Legxacy – ‘06 Wayne Rooney Director: Lauzza Producer: Klevis Krasniqi Production Company: COMPULSORY Director’s Rep: Lee Fairweather at Leethal Reppin’ Commissioner: Scott Wright Record Co: XL RecordingsJjerome87 – Brush Me Like A Horse Director: Alex Takács Producer: Tara Sheree Production Company: Prodco &amp; Freenjoy Commissioner: Jjerome87 Record Co: Jjerome87 / Mushroom Music / Virgin Music GroupJames Blake – Death Of Love Director: Harrison Adair Producer: Oscar Stewart Production Company: Love Song Films Record Co: Good Boy RecordsNovo Amor &amp; Yvette Young – Monty Directors: Leo Villares &amp; Victor Nauwynck Producers: Bea Ralston, Guy Lindley Production Company: Picloc. Commissioner: Lacey Music Record Co: Lacey Music / 5000mgmtWet Leg – Pokemon Director: Elliott Arndt Producer: Frederick Balian Production Company: Sura Commissioner: Sam Williams Record Co: DominoTruman Ft Isabel – Tell Him Director: Saul Abraham Producer: Keri Rothwell Douglas Production Company: January Productions Director's Rep: Casarotto Ramsay &amp; Associates Commissioner: Rank Records Record Co: Rank Records[imgtoken data:5]Best Hip Hop / Grime / Rap Video UkAntslive – Billie Holiday Director: Billy King Producer: Nahal Ashrafi Production Company: CANADA Director's Rep: Joceline Gabriel at Hands London Record Co: AntsliveDave – The Boy Who Played The Harp Director: Edem Wornoo Producer: Andre Wooz Production Company: FRIEND Record Co: Neighbourhood RecordingsDave X Kano – Chapter 16 Director: Harrison Adair Producer: Alex Ayodele Production Company: Love Song Films Record Co: Neighbourhood RecordingsWesley Joseph – Peace Of Mind Director: Wesley Joseph Producer: Jake River Parker Production Company: Stink Films Director's Rep: Alexa Haywood at Free Agent Commissioner: Chloe Azodanloo Record Co: Secretly CanadianKWN – Risk It All Director: Sophie Jones Producer: Oscar Stewart Production Company: Somesuch Commissioner: Chris Dunn Record Co: RCA Records21 Savage ft Young Nudy – Stepbrothers Director: Gabriel Moses Producer: Alice Wills Production Company: DIVISION Commissioner: Brian Deoleo Record Co: Epic Records• The UK Music Video Awards 2026 takes place at The Roundhouse in London on Wednesday, November 4th. More information at the UKMVAs website. <a href="https://www.ukmva.com/173-awards-show" target="_blank">Book now for the UKMVAs 2026&nbsp;ceremony and aftershow</a>.&nbsp;

PRETTYBIRD

SMUGGLER

Leethal Reppin

Stink Films

Alexa Haywood at Free Agent UK

Partizan

Mouthpiece

Park Pictures

Riff Raff Films

FRIEND

Hurry Sundown

Academy Films

CANADA

ProdCo

UK Music Video Awards 2026: Best Video UK nominations in full

U2 are back. And with their new album Carnaval de Luz coming soon, they have been recapturing the flavour and energy of some the classic U2 videos, with directing duo Cliqua.Firstly, there was <a href="https://www.youtube.com/watch?v=hRnS0Wf64Is" target="_blank">Street Of Dreams</a>, released in July, and now the video for Silencio. It was filmed&nbsp;in Mexico City earlier this year, and set in a lounge-like music venue with a decor that wouldn't look out of place in a classic David Lynch movie (or TV show).The video by the&nbsp;Mexican-American duo is populated by a variety of&nbsp;outcast characters - including the devil - within the setting decked in deep red curtains and blue lights, the cinematic visuals punctuated by very cool handmade titles, as if formed from&nbsp;liquid.But of course this is mainly&nbsp;about Bono and the boys. They&nbsp;are centre stage, with a straight ahead&nbsp;performance that plays to their strengths.&nbsp;Silencio sounds good too, with unexpected punk-like energy, highlighted in the increasingly kinetic&nbsp;edit. Could this be the start of a&nbsp;proper return to form by U2?[imgtoken data:1]&nbsp;

Ireland

Cliqua

Company 3

Rock

U2 'Silencio' by Cliqua

U2-'Silencio'-by-Cliqua

Sophie Jones directs a playful homage to Y2K R&amp;B videos, in her promo for East London R&amp;B artist and producer Kwn.&nbsp;The video for Risk It All follows the artist from the backseat of a limo through to the club packed with her friends, captured in a hyperstylised way.&nbsp;Leaning into zooms, push-ins, pull-outs, and transitions&nbsp;that hit the beat, the whole visual feels fresh and authored, and perfectly captures the vibe of the track.&nbsp;Great work.&nbsp;[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Sophie Jones

Alternative R&B

Kwn 'Risk It All' by Sophie Jones

Kwn-'Risk-It-All'-by-Sophie-Jones

Alfred Marroquin steers the return of American actress and pop star&nbsp;Hilary Duff, with a sumptuous video from her new album,&nbsp;luck... or something.The video for Weather For Tennis comes&nbsp;from an entire visual world supervised by&nbsp;Marroquin for the album,&nbsp;with one story&nbsp;unfolding across photos, performances, and the full visual.&nbsp;In a variety of set-ups Hilary is a study of glamourous relaxation, offering a snapshot of relationship tension from her composed perspective, leaning into clarity over melodrama.[imgtoken data:1][imgtoken data:2]

Alfred Marroquin

Hilary Duff 'Weather For Tennis' by Alfred Marroquin

Hilary-Duff-'Weather-For-Tennis'-by-Alfred-Marroquin

Director-provocateur Dan Streit reunites with A$AP Rocky for the second release from the long-awaited new album Don't Be Dumb,&nbsp;an unhinged&nbsp;homage to classic videogame GTA&nbsp;- and fierce satire on Trump's America.The video for Helicopter is a whirlwind journey into the night-shrouded&nbsp;city where Rocky operates out of the reach of the ICE-like forces of the law - and the best way to travel is by chopper.The drone-like camera never stops as Rocky moves from crib to street, doing deals and visiting a teeming rooftop party. His encounter with oppressive government/police forces has him take charge of the eponymous helicopter - the best way to get around the city - and battle is joined.[imgtoken data:1]Diving into Uncanny Valley at times as well as pursuing its unremitting narrative drive, there are echoes of the classic Tailor Swif here. but it's primarily a&nbsp;portrait of urban carnage rather than surrealist, through the prism of&nbsp;a vintage videogame, with an underlying baked-in realism.&nbsp;This 'US of AI' was created with combination of tools, Streit once again pushing creative and technical boundaries by incorporating real performances into CG environments, utilizing 4D volumetric scans and Gaussian splats.&nbsp;It's seriously intense - its full impact improved with repeated viewing - and it&nbsp;ends in shockingly realistic 'splat'.&nbsp;Streit's <a href="https://www.promonews.tv/videos/2022/12/07/aap-rocky-shittin%E2%80%99-me-grin-machine/79633" target="_blank">madcap comedy&nbsp;for Rocky's Shittin Me</a> in 2022&nbsp;looks positively sedate by comparison. &nbsp;

United States

Dan Streit

Hip Hop

A$AP Rocky 'Helicopter' by Dan Streit

A$ap-Rocky-'Helicopter'-by-Dan-Streit

A new short film by British Nigerian director Renee Maria Osubu, In-Between&nbsp;– made in partnership by Coldplay and Choose Love – explores how relationships are affected by migration.Shot in Malta and Kenya and set&nbsp;to music from Coldplay’s 2024 album Moon Music, the film focusses on the story of Omar, a young refugee from Ethiopia, who is navigating life in Malta. Anchored by his East African community in Malta and phone calls across continents, Omar is suspended between two worlds: the home he misses and the one he is trying to make.The 12-minute hybrid short was predominantly cast with immigrants and refugees - all of whom were paid for their roles.The Somesuch production was supported by two refugee-focused organisations, SPARK 15 and RAAH.[imgtoken data:1][imgtoken data:2]

Renee Maria Osubu

Coldplay X Choose Love 'In-Between' by Renee Maria Osubu

In-Between (presented by Choose Love x Coldplay) | Short Film

Rollo Jackson makes a welcome return to music videos with a scintillating&nbsp;limo-set promo for the inimitable Detroit rapper Danny Brown.&nbsp;The video for Copycats opens inside a limo,&nbsp;where a sweaty, exhausted Danny collapses after a show - only to realise he’s not alone.&nbsp;As the song kicks in, a rotating camera reveals chaotic passengers mouthing lyrics and partying around him.Vibrant and feverish, Jackson interweaves the rapper's performance with glitchy, distorted visuals outside the car.&nbsp;The rotating camera allows Danny to turn the limo interior into his performing space with featured artist Underscores and also have some fun. After all, he is a rap/rock/pop star and he gets what he wants...Dripping with energy and a nostalgic, slick aesthetic, it's an absorbing visual that matches the typically hectic vibe of this lead-off single from Danny Brown's forthcoming album Stardust.[imgtoken data:1]&nbsp;

Rollo Jackson

Avenues

Alternative

Rapper

Danny Brown ft Underscores 'Copycats' by Rollo Jackson

Danny-Brown-'Copycats'-by-Rollo-Jackson

Alessi Rose leads her faithful male followers through a provocative exercise&nbsp;routine in Ben Cole's pulsating promo.&nbsp;&nbsp;Set inside a derelict asylum chapel, the video for First Original Thought plays like a fever dream of discipline and desire, unfolding in a sweat-drenched Pilates class.Contrasting the pastel-hued outfits and yoga mats with a crumbling industrial location, the video has a fresh, sensual&nbsp;aesthetic that cements itself in a dreamy fantasy world.There's also a fresh feeling in the interplay between Alessi and her retinue of well chiselled boys, choreographed by Simon Donnellon. Hot stuff!&nbsp;[imgtoken data:1][imgtoken data:2]

Ben Cole

Alessi Rose 'First Original Thought' by Ben Cole

Alessi-Rose-'First-Original-Thought'-by-Ben-Cole

Duncan Loudon's latest collaboration with electronic musician William Phelps - aka Tourist -&nbsp;is an&nbsp;excursion, with echoes of a past summer.The video for the brilliant Outside is a firsthand motorbike journey, a lone biker's trip from England to mainland Europe&nbsp;via the Channel ferry, captured&nbsp;on a 90s DV camcorder.&nbsp;The film unfolds like a personal travelogue, with the rider’s face remaining unseen, and his trip compressed into moments by the mostly rapidfire edit.&nbsp;&nbsp;Shifting between raw POV shots and quiet roadside pauses, it feels immersive and carefree. The combination of subject matter and the early digital aesthetic captures the warmth and freedom of a summer road trip that echoes the song’s spirit. And that track is an absolute banger.[imgtoken data:1]&nbsp;

Duncan Loudon

Tourist 'Outside' by Duncan Loudon

Tourist-'Outside'-by-Duncan-Loudon

Following up from the visualisers for Donahoo's Chicken&nbsp;and Human?, Vincent Haycock directs a surreal promo for LA rapper&nbsp;Maxo's next single.The visual for Mars Is Electric&nbsp;introduces a new Maxo - dressed in a sky print suit and wearing an unnerving prosthetic oversized smile on his face&nbsp;- as&nbsp;he enters the world of&nbsp;normal Maxo on a park bench.The character represents the artist's public face and also his inner voice on this highly idiosyncratic track. The effect is slightly unnerving, and another intriguing insight into the creative world of Maxo.&nbsp;

Vincent Haycock

Maxo 'Mars Is Electric' by Vincent Haycock

Maxo-'Mars-Is-Electric'-by-Vincent-Haycock

Vincent Haycock directs an offbeat, lo-fi promo for LA rapper Maxo.The video for Donahoo's Chicken sees a group of young men in a bathroom, playing the track (and performance visual) on one of their phones.&nbsp;Moments later, a fight erupts between the men, and we see the scuffle interspersed with footage from the phone, which continues to play amongst the mayhem.&nbsp;Shot in a DIY style, the video builds to a very surreal moment at the end. It's part of the off-kilter visual landscape for the new Maxo album, Mars Is Electric, that was first previewed with Haycock's&nbsp;video for first single&nbsp;Human?

Maxo 'Donahoo's Chicken' by Vincent Haycock

Maxo-'Donahoo's-Chicken'-by-Vincent-Haycock

Director duo King She create a brilliantly imaginative promo for&nbsp;French-Cameroonian artist Yamê.The visually striking promo for Shoot draws from&nbsp;a&nbsp;pivotal fall in Yamê’s childhood, which&nbsp;shaped both his distinctive jawline and teeth.&nbsp;King She developed the narrative around the theme of falling, using it as a metaphor for self-discovery - and the concept was&nbsp;rooted not only in Yamê’s experience but also in a similar event from the director’s own past.&nbsp;[imgtoken data:1]Opening with young Yamê falling and breaking open - revealing a giant stone version of himself filled with an Escher-like inner world. Inside, countless versions of Yamê wander through surreal corridors and shifting rooms, each encounter representing different incarnations of his struggles.Yamê wanted the video to feel like a video game - each scene unlocking a new level of his consciousness. The motorcycle chase, for instance, plays like an action sequence from a psychological game, while other sections mirror 'boss fights'&nbsp;with darker parts of the self.[imgtoken data:2]&nbsp;This structure gives the film a pulsing energy and dreamlike progression, allowing for a distinct visual language in every scene.&nbsp;Filmed at Villa Arson, a fine arts school in Nice, the video uses the geometric austerity of brutalist architecture to evoke authenticity and material honesty.Yamê’s Cameroonian heritage also plays a key role in the visual storytelling. After showing King She the spiral architecture of traditional villages in his ancestral homeland—structures that echo early conceptions of the galaxy—the filmmakers integrated this motif throughout the video. It all culminates in a final shot that honors African cosmology and architectural traditions.[imgtoken data:3]To portray Yamê’s journey through a shifting, Escher-like mental maze, the filmmakers combined in-camera effects, practical set builds, and a range of post-production techniques—including keyframe scaling, 2D animation, CGI, and AI-generated imagery.&nbsp;Key VFX partner MONUMENTAL FX provided standout CGI and set extension work, bringing to life the surreal architecture of Yamê’s internal world. During production, the team 3D-scanned Yamê which enabled the creation of the giant stone figure featured in the video’s opening.[imgtoken data:4]Every visual choice was designed to render emotional conflict as external chaos and immersive art. The end result is a rich, cinematic journey through the complex architecture of the self. Outstanding work.&nbsp;

King She

HENRY

Yamê 'Shoot' by King She

Yamê  | "SHOOT" music video

Lydia Garnett has joined the Somesuch roster for global representation across commercials, music videos and branded content.Filmmaker and photographer Lydia Garnett focuses on style and subculture, crafting intimate storytelling rooted in a collision of ritual, collectivity and play.Deftly attuned to the nuanced intersections of fashion and identity, Lydia uses these to inform projects as told through the codes of underground culture. In 2025, Lydia directed Last Exit on Bethnal, a poetic, surreal exploration of power and sexuality set in a fantasy underworld to mark the release of Hannah Holland’s next album, which premiered in April at the ICA in London.Recently, Lydia co-directed the Kae Tempest music video for Statue In The Square, a powerful visualisation of defiance and a raw celebration of trans love and resilience made with Boy Dykes collective. Previous notable promos also include the Iris Prize-winning and UKMVA-nominated Lonely Cowgirl, a seductive music video for DIY punk band Trouble Wanted set within a fantasy western-themed utopia.For Lydia, film and photography go hand in hand, offering a space to tell new, intimate stories. In 2022, Garnett exhibited Close Shave, an acclaimed photography series and short film that pays homage to Dyke, Butch and transmasc haircuts built on the legacy of Catherine Opie and PhyllisChristopher. Through the radical yet profoundly personal transcultural symbol of hair, the artist reveals incisive ideas about gender, beauty, sexuality and style.Commercially, Lydia has worked with clients such as Dior, Nike, adidas, Dr Martens, Timberland,&nbsp;as well as internationally acclaimed publications Gay Times, Altered States and more.• Watch Lydia Garnett’s showreel at Somesuch&nbsp;<a href="https://somesuch.co/directors/lydiagarnett?territory=uk" target="_blank">here</a>

Lydia Garnett

Lydia Garnett joins Somesuch

Sophie Jones turns up the heat as Obongjayar performs toxic love song Sweet Danger, and takes turns on a mechanical bull with a range of characters who represent the sexy chaos and unpredictability of life.The scenario sees the charismatic singer sharing an abandoned hotel with a bevy of partygoers from different scenes, including greased-up female bodybuilders (very in, see the recent video for Bbyafrika).Things get sticky, sweaty and sexy, but always&nbsp;stylish, in Sophie Jones's first video at her new home Somesuch.[imgtoken data:1]&nbsp;

Obongjayar 'Sweet Danger' by Sophie Jones

Obongjayar-'Sweet-Danger'-by-Sophie-Jones

A collective of femme bodybuilders unite in Mollie Mills' striking visualiser for LA-based rapper Bbyafricka.The video for Trackstar is a vibrant, gently eccentric ride through pastel landscapes, outdoor weightlifting and plenty of exposed flesh. But also no-nonsense, putting you directly into Bbyafricka's world.Anchored by the artist's unique performance style and blissfully unbothered vibe, each frame could be ripped from a photo editorial, boasting striking subjects and inspired portraiture. Powerful stuff.&nbsp;

Mollie Mills

Bbyafricka 'Trackstar' by Mollie Mills

Bbyafricka-'Trackstar'-by-Mollie-Mills

Dan Streit returns with&nbsp;alt-hip hop duo Paris Texas turning the pair into conjoined twins, and their Faustian pact with a magical sword.In true Dan Streit style, off-the-wall humour meets mind-boggling visual effects in the video for They Left Me With The Sword - with an underlying sense of pathos at the predicament of the hapless Felix and Louis from the band.And this ludicrous, fantasy-esque tale keeps us on our toes right until the end - take nothing for granted in this one -&nbsp;until its fairly&nbsp;clear that having your dreams come true can be a double-edged sword.And then Part Two, They Left Me With A Gun, <a href="https://www.youtube.com/watch?v=kXeYSZQlFnQ" target="_blank">continues this absurd tale to it's devastating conclusion</a>.&nbsp;&nbsp;

Paris Texas 'They Left Me With The Sword' by Dan Streit

Paris-Texas--'They-Left-Me-With-The-Sword'-by-Dan-Streit

American rapper Saweetie takes London by storm in Tajana Tokyo's sizzling promo for&nbsp;Is It The Way.&nbsp;The video sees&nbsp;the rapper command the streets of London, stopping everyone in their tracks with her attention-grabbing performance.&nbsp;With slick transitions between setups and some great slow-mo shots, it's an inspired vision from Tajana Tokyo, in her first project since the UKMVA-winning video&nbsp;for Ezra Collective's God Gave Me Feet For Dancing earlier this year.&nbsp;Conceptually experimenting with split-screen composition and a slick blue-grey colour palette, it's a standout visual that feels sensual and cinematic.[imgtoken data:1]&nbsp;[imgtoken data:2]&nbsp;

Tajana Tokyo

Saweetie 'Is It The Way' by Tajana Tokyo

Tajana-Tokyo-'Saweetie---It-Is-The-Way'-by-Tajana-Tokyo

Somesuch have announced Lee Fairweather as their new director's rep for company's UK music video roster, through his company Leethal Reppin.Fairweather will be taking on UK music rep duties at Somesuch, where he will continue his instrumental work in winning career-defining projects for directors. Previous notable projects include two videos for Stormzy’s Heavy Is The Head&nbsp;campaign:&nbsp;Audacity, featuring Headie One, and Superheroes, the latter becoming a No.1 trending video on YouTube.Previously in-house director's rep at Compulsory, Fairweather - four-time nominated for Best Agent at the UKMVAs - launched Leethal Reppin in 2023, a curated music video representation agency working with production companies and individuals. Fairweather has matched directors and artists to create symbiotic pairings of talent. His work with the likes of Joy Crookes, Fly Anakin, Arlo Parks and Stormzy have resulted in award-winning and culture-defining music videos, but most importantly are the foundations for long-standing relationship between talent, artist and production.• Somesuch UK directors' roster <a href="https://somesuch.co/directors" target="_blank">here</a>; Leethal Reppin <a href="https://www.leethalreppin.com/" target="_blank">here</a>

Somesuch appoint Lee Fairweather as UK music video rep

Award-winning filmmaker Charlotte Regan, director of acclaimed debut feature Scrapper, and music videos for Wretch 32, Wilkinson and Mumford &amp; Sons, has joined Somesuch in London for music video and commercial representation.Regan's work is known for its vibrancy and strong narrative voice while&nbsp;depicting real-life stories with surrealist flair. The Londoner’s internationally-acclaimed debut feature Scrapper had its world premiere at Sundance 2023, where it went on to win the World Dramatic Grand Jury Prize. The film was then nominated for Best British Film at 2024’s BAFTAs, where Charlotte was named a Breakthrough Brit.The&nbsp;Hackney-born writer-filmmaker began her film career making low budget grime videos on the streets of Islington as a teenager, shooting over 200 promos in the process. She progressed to short films, with her first&nbsp;short Standby - a&nbsp;comedy about friendship set entirely in a police car – was nominated for a BAFTA.&nbsp;Her second short Fry-Up, which follows a family during the preparations for and aftermath of a trial, screened at Sundance and Berlinale, and her third, Dodgy Dave was presented at BFI Festival London and TIFF.In 2019, at the age of 25, a retrospective of her short film and music video&nbsp;work was held at the Barbican. A former Sundance Ignite fellow, she was named a Screen International Star of Tomorrow (2020).She has also applied her filmmaking style to commercial projects, directing spots for the likes of Alzheimer's Society, British Airways, Macmillan and Cadbury. Alongside an impressive oeuvre spanning film, music and commercials, she’s helmed episodes of TV shows such as The Responder (BBC) and Buccaneers (Apple TV). Charlotte is currently writing MINT – an eight-part series commissioned by the BBC.• Watch Charlotte Regan’s showreel <a href="https://wdrv.it/67120ab20" target="_blank">here</a>.

Charlotte Regan

Charlotte Regan joins Somesuch

Tajana Tokyo celebrates the joy of dancing in this infectious promo for Mercury Prize-winners Ezra Collective.The video for God Gave Me Feet For Dancing tells a classic story of young people - a boy and a girl -&nbsp;who&nbsp;express their attraction to each other through dance. Only they are much better dancers than most people.Performing under bright, tracking spotlights, the dancers - Michelle Zan and Kitz Katika -&nbsp;make the most of the nighttime exterior locations, effortlessly transitioning from place to place. In some respects&nbsp;it has a theatrical, old Hollywood vibe, reminiscent of vintage musicals and on-stage theatre productions.&nbsp;Bracketed by naturalistic shots of the characters talking and drinking outside a pub, the concept is presented as an escapist fantasy that's also realistic, and does a brilliant job of visualising the upbeat music.&nbsp;

REPmedia

Jazz

Ezra Collective 'God Gave Me Feet For Dancing’ by Tajana Tokyo

Ezra-Collective-'God-Gave-Me-Feet-For-Dancing’'-by-Tajana-Tokyo

Creative director&nbsp;Ruth Bellotti directs a stunning short music film for Palace.&nbsp;A heavyweight in the advertising world, Bellotti had the concept in mind before linking up with the band, and it has&nbsp;translated perfectly to its current format.&nbsp;The video for Nightmares &amp; Ice Cream follows&nbsp;a cult ritual that slowly descends into a competitive cry-off as the different members all attempt to prove themselves worthy of salvation."The short was conceived after watching too many cult documentaries during the pandemic," Bellotti explains."I was inspired by the kind of people that join these groups and their delusional hope of finding a more peaceful and utopian existence away from the stresses of everyday life. The song speaks to their dreams of getting into this magical place.”Featuring some beautifully unhinged performances, the video has an eccentric, offbeat energy, and is utterly absorbing from start to end.&nbsp;

Ruth Bellotti

Blues

Palace 'Nightmares & Ice Cream' by Ruth Bellotti

Palace - Nightmares & Ice Cream

Director duo CC Wade - brothers&nbsp;Michael and Paraic Morrissey - return to music videos and reunite with Fat White Family for an intense exploration of obsession, featuring a compelling performance by&nbsp;the South London sleaze-rockers' frontman Lias Saoudi.&nbsp;The video for Work features Saoudi playing an unhappy&nbsp;working stiff,&nbsp;exhausted from the everyday grind of mediocrity, who decides to flip the script.&nbsp;He joins a strange bodybuilding club and gets caught up in an obsessive spiral of self-improvement - to&nbsp;the detriment of his health, body and domestic life.&nbsp;CC Wade create an&nbsp;intoxicatingly heightened and offbeat sensibility in delivering this narrative,&nbsp;akin to radical fringe theatre, elevated by DoP&nbsp;Moritz Mössinger's fluid cinematography.It's&nbsp;a great match to the track, and a proper showcase for the talents of Lias Saoudi, channelling his intriguing,&nbsp;fiery presence into arguably his most powerful performance on screen.

CC Wade

Indie

Fat White Family 'Work' by CC Wade 

Fat White Family - Work (Official Video)

Dua Lipa coolly assesses a small army of suitors in Vincent Haycock's dizzying blockbuster for Training Season.&nbsp;The video sees the artist sitting in a café, attracting the avid attention of numerous males, who pile up against the window outside to get a glimpse of her, and occupy every other table.&nbsp;As their stares linger, the whole environment starts to shift, until the men get caught in a whirlwind orbit - much to Dua's amusement.&nbsp;It's the kind of big-budget spectacle we've come to expect from Dua Lipa, with cinematography by Rina Yang, seamless visual effects, a cast of dozens, choreography by Charm La'Donna (for Dua) and Ryan Heffington (for the cast)&nbsp;- and an utterly compelling performance at its core.[imgtoken data:1][imgtoken data:2]&nbsp;

Theresa Adebiyi

Dua Lipa 'Training Season' by Vincent Haycock 

Dua Lipa - Training Season (Official Music Video)

In 2015 Will Robson-Scott and Ollie Grove released a book titled In Dogs We Trust, a series of portraits of dogs and their owners, shot on both sides of the Atlantic, from Crufts to Compton.Eight years on and Robson-Scott and Grove have revived the project, heading off in Leyton, East London to snap singer-songwriter Humane The Moon with his new pup Mabel. The resulting photos, and selections from the book, now comprise Robson-Scott's video for the artist's I Saw A Dog.The video is entirely comprised of stills and that works really well - thanks to the sterling work of editor Lydia Bowden and animator Jack Sheldrake, as well as the quality of Robson-Scott's and Grove's photography.&nbsp;[imgtoken data:1]&nbsp;&nbsp;&nbsp;

Will Robson-Scott

CHEAT

Humane The Moon 'I Saw A Dog' by Will Robson-Scott

Humane The Moon - I Saw A Dog (Official Video)

Will Robson-Scott's latest collaboration with East London singer-songwriter Hak Baker&nbsp;is a&nbsp;raw, stirring promo for Brotherhood, from Baker's debut album World's End FM.&nbsp;The video merges the passions of the artist and his brother - performing and boxing, respectively - into a gripping meditation on life, relationships and the future.&nbsp;Interspersed with lo-fi cutaways and rich conceptual imagery, it's a thought-provoking and captivating visual befitting of the track.&nbsp;It's the latest of several hard-hitting videos by&nbsp;director and photographer Will Robson-Scott for Hak Baker over the past few years, including Dopehead and the marvellous Cool Kids.[imgtoken data:1]

Hak Baker 'Brotherhood' by Will Robson-Scott

Hak Baker - Brotherhood (Official Video)

NYC-based directing duo&nbsp;King She&nbsp;have been making jaws drop since the release of <a href="https://vimeo.com/752696728" target="_blank">Rare: The Boy Who Cried Swag</a>&nbsp;last year. They have now applied their distinctive, mosaic-like&nbsp;style to&nbsp;Cuban-American artist Cassie Marin's track Tanto, transforming the reality of living with a medical condition into a pop culture moment.&nbsp;Marin has an autoimmune disorder, which exhibits on her skin - and that becomes the jumping off point for the video, which starts with a camera seemingly speeding through her blood stream, to a moment of drama when a text message arrives on her phone, from a medical facility:&nbsp;"Your bloodwork is back... You're sick."So begins 'the biopunk&nbsp;journey of a girl who purges heavy metals from her skin', as Marin's body becomes the vehicle for stylish VFX augmentation, in a blizzard of ideas and images. Fashion shoot sensibility, high end FX, and lo-fi emoji humour make this one of the visually imaginative and groundbreaking pop videos of the year. Jawdropping, in fact.[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Cassie Marin 'Tanto' by King She

Cassie Marin - Tanto (Official Music Video)

Femi Ladi creates an intriguing crime drama&nbsp;for Jorja Smith's Feelings, featuring J Hus - in which Jorja and co-star Jasmin Jobson play multiple characters.Ladi's video mirrors the story of&nbsp;Bonnie &amp; Clyde, with a big twist. Jorja and Top Boy actress Jobson play a series of characters on each side&nbsp;of the thrilling heist drama. It keeps the viewer intrigued right to the end.The video arrives hot off the heels of the release of&nbsp;Jorja’s acclaimed second album,&nbsp;falling or flying.

Femi Ladi

Cinelab Film and Digital

Jorja Smith 'Feelings' by Femi Ladi

Jorja Smith - Feelings (feat. J Hus)

Peggy Gou's summer anthem gets an appropriately sun-kissed visual courtesy of Somesuch director Thomas Hardiman, filmed on location in Ibiza.A playful mix of performance, choreography, gorgeous vistas of one of the loveliest places anywhere, in the video for (It Goes Like) Nanana Hardiman allows Peggy to find her groove, at the centre of the glamourous party, but not always the centre of attention.Shot by Nikita Kuzmenko, edited by Thomas Grove Carter and graded by Myles Bevan, it's a very&nbsp;sophisticated and aspirational addition to the classic Ibiza-set video.[imgtoken data:1]&nbsp;

Scott Wright

XL Recordings

Trim Editing

Studio RM

Dance

Peggy Gou '(It Goes Like) Nanana' by Thomas Hardiman

Peggy Gou - (It Goes Like) Nanana - Official Video

In this eerie, sensory video for Junodream, director Ned Botwood imagines ‘a day at the beach’ with the lights turned out.The video for The Beach is a languid montage of lunar beach scenes. Sand, swimmers, sunbathers, dogs and dust are all incongruously reframed at nighttime. Anonymous characters stare at the horizon, waiting for the wind to change.&nbsp;Making stark use of negative space and roaming spotlights, cameraman Joseph Dunn shoots the beach like a dreamy moonscape. This is emphasised by a silvery colour grade by Ruth Wardell at Time Based Arts. Echoes&nbsp;of Radiohead's Street Spirit, in fact, and the song happens to be a&nbsp;catchy indie rock anthem in the mould of that 90s classic.[imgtoken data:1][imgtoken data:2]“I try not to stay at the beach after the sun’s gone down - It’s too eerie for me," admits Botwood. "Once the tourists go home, it’s just flat land, heat, bugs, wind and darkness. There’s so little visual context, you might as well be on the moon. We wanted to imagine what a beach looks like to someone who can only remember little dark parts of it.“I really really have to thank Joseph Dunn and his camera team, Kevin Corry and The Assembly Rooms, and Ruth Wardell and Time Based Arts, who were all so generous lending their skill to such a tiny project!”

Ned Botwood

Indie Rock

Space Rock

Junodream 'The Beach' by Ned Botwood

Junodream "The Beach"

Mollie Mills directs a deliciously sensual promo for Romy, filmed in Spain.&nbsp;The video for The Sea presents an evocative montage of intimate moments, set against a backdrop of the humid Spanish&nbsp;coast.&nbsp;With a nostalgic, almost poignant vibe and a subtle flair of AI experimentation, it's a video that perfectly suits the mood of the track, and feels almost like&nbsp;watching a stranger's dream - in the best way possible.

Romy 'The Sea' by Mollie Mills

Romy - The Sea (Official Video)

<h3>After a run of critically acclaimed projects, Femi Ladi (above right) has teamed with Stormzy (left)&nbsp;to&nbsp;make&nbsp;his most ambitious video yet. We talked to him about mastering motion control&nbsp;and talk-therapy with the UK's biggest grime stars.</h3>In a relatively short period,&nbsp;Femi 'Ladi' Oladigbolu&nbsp;has shown he's destined for big things. Videos for Pa Salieu and Chase &amp; Status, content for Adidas and others, and BFI-screened short film Oba, have all demonstrated Ladi's ability to get up close and personal with his subjects, using all tools at his disposal to grab the viewer's attention.Now one of those big things has happened - a video for the UK's biggest grime star Stormzy, featuring fellow grime icon Fredo, which gives full rein to the British-Nigerian director's ability to connect viewer and artist in a meaningful way. And for Toxic Trait, Ladi effectively combines two different filmmaking styles, using the magnetism of the artists as the glue to bring them together.&nbsp;&nbsp;[vidtoken data:0]<blockquote>I was invited into the Def Jam UK offices without knowing what artist the briefing was for.</blockquote>For one half of Toxic Trait, Ladi creates a world for Stormzy that is rooted in classic art - and employs motion control to have muliple versions of the superstar exist in one space, acting out lyrics from the track. It's a development&nbsp;of Ladi's breakthrough video for Pa Salieu ft Backroad Gee's My Family, which used the impact of a programmed motion control rig to capture a performance, but this time with added VFX complexity.Then Ladi switches things up to someting akin to straight drama - like a therapy scene in The Sopranos - with Fredo confessing his bad habits to a therapist played by TV host Alison Hammond, intercut with a shared performance by the stars, and then a group therapy session with a number of other grime artists.In the use of different styles, Ladi&nbsp;enriches the viewer's perception of these huge stars without compromise - a notable achievement. So we asked him how he it all happened.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;PROMONEWS: What was the starting point for the Toxic Trait&nbsp;video? What kind of brief did you have?FEMI LADI: It was all quite secretive and exciting, to be honest. I was invited into the Def Jam UK offices without knowing what artist the briefing was for. Once we were in the label they told me it was for Stomzy and then I heard the song a couple of times in the office.When I mean I heard the song, it was just a snippet - mainly the Stormzy verse, as the guest feature hadn't been decided yet. Then I had the link&nbsp;to listen to it, which expired after a certain amount of hours. Fortunately, the idea came to me pretty quickly so I just developed it from there.[imgtoken data:1]&nbsp;<blockquote>Stormzy and Fredo found creative ways to show their toxic traits whilst still flossing.</blockquote>The theme of Toxic Traits is reflecting upon one's failings, being self-critical. Is that a tricky subject to address in a music video? Or offered more opportunities?&nbsp;I think it offered more opportunities. The thing I enjoy about rap music in general is the braggadocious nature of the lyrics and both Stormzy and Fredo found creative ways to show their toxic traits whilst still flossing. This allowed us to exaggerate some of the scenes and be playful whilst&nbsp;still trying to say something real.&nbsp;The original music video for My Family you directed has the same dynamic camera move created by the G6 Moco. Have you been looking for a new opportunity to explore its potential?Yeah for sure. [I've been] working really closely with the G6 Moco team. They often provide great solutions to my creative ambitions.For this, we didn't necessarily use the concept of motion control in a new way, but we used one of the largest arms in the country. This allowed us to capture all our scenes without cutting, while also being fast enough to move around keeping up with the pace of the track.&nbsp;[imgtoken data:2]<blockquote>We were still swapping things around and creating new scenes as we were programming&nbsp;the move.</blockquote>How did you go about the process of planning and constructing your motion control move?In terms of planning the motion control move it was a bit of a maze. We had to figure out all the moves but also have in mind how this looks in the final image when we zoom out, and if we can capture the Renaissance-inspired painting at the end of the video.Myself, my producer Tom Gardner and my DOP Ruben Woodin Dechamps travelled up to Manchester to the G6 offices, and started working out the moves on the software that G6 had built. Here we decided on lenses, aspect ratios, and how the camera will move on the robot.It was quite touch and go as some scenes weren't approved yet. So we were still be swapping things around and creating new scenes as we were programming it.In terms of&nbsp;getting it approved, did Stormzy need convincing that he needed a wardrobe change for nearly every line of the song?&nbsp;Haha, nah. Changing for each line wasn't a problem at all. He has a great stylist in Melissa [Holdbrooke-Akpose] and all the changes looked cold, so I think he probably enjoyed it.[imgtoken data:3]&nbsp;Above: On the set of Toxic Trait video with camera on motion control arm shooting Stormzy's archer sequence<blockquote>Using one of the largest motion control arms allowed us to capture all our scenes without cutting.</blockquote>There’s a reference to the Muhammed Ali cover for Esquire Magazine in 1967 - which itself references a Renaissance painting of Saint Sebastian. Are there other references included in the video?Correct! Yeah, originally there were a lot more 'traditional'&nbsp;art references. But as mentioned the scenes were changing all the time, so not all of them made it. The only other one that did make it was in reference to Kehinde Wiley's Ship of Fool, which is on display at the Queens House of Greenwich.&nbsp;It feels seamless, and less complicated than it probably was to shoot. Was there anything really tricky that you needed to fix in post?Yeah, it was quite tricky to shoot. But I had a great collaborator in Coffee &amp; TV. They did a lot of cleaning up and added extra bits like the dark sky. Also the end image putting together all the scenes we had to move just a few scenes around.The fix that really helped was making the monkey grind, as she struggled to do the action on the day, haha - not entirely sure how but they made it work. There were a fair amount of post&nbsp;overall within a tight turnaround and I'm really grateful to the VFX team on that.&nbsp;[imgtoken data:4]<blockquote>We built in the therapy scene to inject a bit of humour... Alison [Hammond] really took on her role well.</blockquote>The break of the therapy session adds another dimension - Fredo comes across well, and Alison Hammond is a great piece of casting. How did this get to be included in the video? Who wrote the dialogue for that section?I thought that maybe keeping Renaissance creative throughout might be a bit much and thought it would be nice to have a bit of respite. So we built in this therapy scene to inject a bit of humour. I liked the idea of Fredo rapping these outrageous lyrics to a therapist and sharing it with other rappers confessing their toxic traits.&nbsp;I would absolutely love to take credit for that line about the toenail clippers, but Fredo just made that up on the spot, with a completely straight face. They were both excellent. Alison really took on her role&nbsp;well and gave us the best facial expressions. The outtakes of that scene were hilarious.[imgtoken data:5]How did the other stars - Ivorian Doll, Wretch 32 and Specs Gonzalez -&nbsp;get involved?&nbsp;I pitched that we cut into a group therapy scene with other rappers and Stormzy's team made it happen. We all saw his incredible pull from his Mel Made Me Do It video. I actually didn't know exactly who was coming until the last minute, but I was very happy with what we got.Alison conducted a real session and asked everyone to express what their toxic traits were - which was funny but also very real. These were the final shots of the day, so it was nice to finish on a high.&nbsp;• Femi Ladi is based&nbsp;at <a href="https://somesuch.co/" target="_blank">Somesuch</a> for music videos and commercials.

Femi Ladi on Stormzy's Toxic Trait video: 'We could be playful while still saying something real.'

STORMZY - TOXIC TRAIT ft. FREDO

When Stormzy does videos, he does them big, and the video&nbsp;for Toxic Trait, directed by Femi Ladi,&nbsp;is no different, boasting a&nbsp;tour de force&nbsp;of set builds, visual effects and cameos - delivered with a mesmerizing motion controlled camera&nbsp;move.What's more, there's a dramatised therapy session featuring guest artist Fredo - with his therapist played by TV royalty Alison Hammond.The video fictionally contextualises a plethora of 'toxic' situations that Stormzy refers to in the track, honing in on gambling, violence and the glorification of luxury lifestyles. And as the camera shifts between multiple versions of the grime superstar, Ladi introduces&nbsp;significant, historical cultural moments from over the years, including the iconic&nbsp;1968 Esquire Magazine cover of Muhammed Ali and Kehinde Wiley’s prominent painting, A Ship Of Fools.[imgtoken data:1]When the action breaks for the therapy scene with Fredo and Hammond, it's a welcome development of the theme that also adds a touch of humour. Then it concludes with a group-therapy session which features further cameos from a range of British figureheads including Ivorian Doll, Wretch 32 and Specs Gonzalez.Filmed in London earlier this year, the&nbsp;majority of the visual was shot on a high-speed, cinema robot camera, capable of horizontal&nbsp;and vertical movement speeds of up to 2 metres per second.[imgtoken data:2]“After listening to the lyrics, I wanted to have fun with this video," Femi Ladi has stated.&nbsp;"I liked the idea of bringing a Renaissance-style painting to life, whilst still feeling grounded in the world of Stormzy."We collaborated on all the scenarios together which was great - as well as being able to bring in the likes of Fredo and Alison Hammond for their own toxic therapy sessions!"​

Coffee & TV

Grime

Stormzy ft Fredo 'Toxic Trait' by Femi Ladi 

Renee Maria Osubu tells the story of a grieving family, within the wider context of the Black British experience, in Dirt In The Diamond, a short film that incorporates three songs from Jords album, with the same name, performed by the artist.In the first part, we are introduced to the main characters at a family gathering at the home of the Walkers, prior to the funeral of their son, where Jords performs MoBay with Tay Iwar. It's&nbsp;shot by cinematographer Courtney J. Bennett in rich colour, with an intimacy that recalls Steve McQueen's 'house party' film Lovers Rock.That is followed by the funeral of the son - the procession behind the coffin and church service -&nbsp;shot in stark black and white, in which we hear iPray by Jords, Wretch 32 and Miles from Kinshasa. Finally, the drama is replaced by a montage of&nbsp;archive footage of Black Londoners from the 1970s to the present day - including footage of era-defining protests against racism and prejudice -&nbsp;&nbsp;as Jords performs Fist In The Sky.&nbsp;Renee Maria Osubu&nbsp;brings the personal and the political together, and interrogates the nature of grief - which one character describes as "the truest form of love" - in compelling fashion.[imgtoken data:1]&nbsp;&nbsp;[imgtoken data:2]&nbsp;&nbsp;&nbsp;

Jords 'Dirt In The Diamond (a short film)' by Renee Maria Osubu

Jords - DIRT IN THE DIAMOND (A SHORT FILM)

A sea of disembodied hands grapple with Kesha's face, in Vincent Haycock's striking visualiser for Eat The Acid.&nbsp;The comeback hit is taken from upcoming album Gag Order, and comes equipped with an organic yet entirely surreal one-shot visual, with fingers sliding over the artist's face and inside her mouth, eventually trapping her in a tight link of flesh.&nbsp;The uncomfortable, claustrophobic nature of the video reflects the haunting soundscapes in the track, and makes for a staggering video, which teases a strong concept for the new album.&nbsp;

Kesha 'Eat The Acid (Visualiser) by Vincent Haycock 

Kesha - Eat The Acid (Visualizer)

Alfred Marroquín reveals Post Malone's sensitive soul in the video for Chemical.It begins with Malone in the driving seat of a truck, but what appears at first to be a dramatic scenario is revealed to be the first set-up of a photo shoot.As the fourth wall comes down, Marroquín allows the artist to relax and dispense with some of his&nbsp;macho persona&nbsp;for this catchy pop number.

Post Malone 'Chemical' by Alfred Marroquín

Post Malone - Chemical (Official Music Video)

Pop superstars Labrinth and Billie Eilish embrace the world of conceptual contemporary dance in Daniel Sannwald's video for Never Felt So Alone.Sannwald collaborated with&nbsp;Spanish choreographer&nbsp;Candela Capitán for the project, whose dance/performance art piece&nbsp;19762. Alone and Connected, was the inspiration behind&nbsp;the video. As in the original&nbsp;- which&nbsp;premiered at Kassel, Germany&nbsp;in 2022 - the performers (Labrinth, Eilish and other dancers) are dressed in white neoprene suits and their movements limited by harnesses and chains attached to a metal frame,&nbsp;becoming more impactful as a result.Capitán has commented that the original dance performance is a reflection how the internet&nbsp;and machines dictate our lives - and makes us both alone and connected. This idea translates extremely well in Sannwald's&nbsp;video, providing a striking visual metaphor to frame a song about a devastating sense of loneliness.It's a boundary-testing move from Labrinth, arguably bringing him more into edgier world of Billie&nbsp;Eilish, that pays off wonderfully well.[imgtoken data:1]&nbsp;

Daniel Sannwald

Labrinth ft Billie Eilish 'Never Felt So Alone' by Daniel Sannwald

Labrinth - Never Felt So Alone (Official Video)

Tajana Tokyo directs a slick, feelgood promo for BRIT-winning girl group FLO's team-up with the legendary&nbsp;Missy Elliott.&nbsp;Taking inspiration from Missy Elliott's 2002 hit Work It, the main refrain&nbsp;of Fly Girl has&nbsp;manifested one of the best collabs in recent memory, in this fusion of old school and modern R&amp;B.&nbsp;And Tajana Tokyo's&nbsp;accompanying video has a vibrant, celebratory concept.It takes place at a packed bar, where the trio perform, dance and get down with the party vibes, joined by a whole host of energetic characters.&nbsp;Representing the nostalgia of the Noughties with a future-facing, contemporary vibe, it's an immediately engaging visual with a brilliant cameo from the icon herself, which will have fans of both artists on the edge of their seats.[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Studio Island

FLO ft Missy Elliott 'Fly Girl' by Tajana Tokyo

Flo-Ft-Missy-Elliott-'Fly-Girl'-by-Tajana-Tokyo

Somesuch have officially announced the signing of Tajana Tokyo to their directors rosters for the UK and US.The Sierra Leonean-British director has directed projects for&nbsp;Channel Tres, Ari Lennox, Nowness, Victoria Monét and Destiny Rogers, amongst others. And she recently co-directed the Apple Music Superbowl spot Run This Town, with Kim Gehrig.Tajana Tokyo's time as a professional dancer holds a strong influence over her directorial approach, reflecting her&nbsp;love of dance,&nbsp;choreography and melody.• Watch Tajana Tokyo's showreel at Somesuch <a href="https://somesuch.co/directors/tajanatokyo" target="_blank">here</a>&nbsp;

Tajana Tokyo now represented by Somesuch

Vincent Haycock directs a thought-provoking promo for LA-based rapper Maxo.&nbsp;Shot by Steve Annis, the video is a dreamlike montage of the artist's performance, backdropped by the imposing architecture of the city around him.&nbsp;Interweaving shots of a girl dancing around the space, and bookended by spoken word interview snapshots, the video has an almost narrative structure to it, which plays out in an abstract, evocative fashion.&nbsp;Brilliant work with jaw-droppingly beautiful imagery and creative cinematography, which reunites&nbsp;Haycock with Maxo following the&nbsp;video last year for <a href="https://www.promonews.tv/videos/2022/08/31/maxo-ft-pink-siifu-48-vincent-haycock/78065" target="_blank">48</a>.[imgtoken data:1][imgtoken data:2][imgtoken data:3]&nbsp;

Maxo 'Free' by Vincent Haycock

Maxi-'Free'-by-Vincent-Haycock

<h3>In the first of a new series, we ask André Reid-McKinley -&nbsp;Somesuch's music video rep in London - about the important take-aways from&nbsp;2022, and his predictions and hopes for 2023.&nbsp;&nbsp;</h3>André&nbsp;recalls an eye-opening trip to Los Angeles&nbsp;last year, tips a new wave of emerging directors&nbsp;for greatness, and&nbsp;ponders how the business of music video production may evolve in the coming months.2022How would you describe last year in a few words?Challenging - but it was a good learning experience. Found different ways to work more efficiently and effectively.&nbsp;What was your favourite project or projects you worked on last year?Duncan Loudon’s video for Tourist's Your Love, which won an MVA for the Best Dance/Electronic Video. That&nbsp;was pretty special.&nbsp;[vidtoken data:0]Above:&nbsp;Tourist -&nbsp;Your Love, directed by Duncan LoudonA few other highlights include Femi Ladi’s video for <a href="https://www.promonews.tv/videos/2022/04/30/chase-status-mixed-emotions-femi-ladi/76137" target="_blank">Chase &amp; Status' Mixed Emotions</a>. But S/O to Vince Haycock’s<a href="https://www.promonews.tv/videos/2022/08/31/maxo-ft-pink-siifu-48-vincent-haycock/78065" target="_blank"> Maxo (48)</a>, Tajana Tokyo’s <a href="https://www.youtube.com/watch?v=AQFTC6YKh-U" target="_blank">Channel Tres (6am)</a>&nbsp;and Autumn Durald Arkapaw's <a href="https://www.youtube.com/watch?v=Mx_OexsUI2M" target="_blank">Rihanna video for Lift Me Up</a> - wish I was involved in that one.<blockquote>"Going to karaoke for my first time ever and experiencing that with Cliqua I feel is something everyone should experience."</blockquote>Any other project you enjoyed that deserved more attention, or went under the radar?Leo Leigh’s video for The Smile's Free in the Knowledge (below). It was the first music video he’s done with us at Somesuch - the art designer on set was incredible and made this whole universe for the video.What were the best aspects of the job last year?I think one of the best aspects all year round is the people you meet and the connections built, whether it's directors, commissioners, artists, managers and young creatives.&nbsp;What were the most challenging aspects of the job last year? Coming out of the pandemic, generally last year was a bit slow. Which was a challenge as part of my role is ensuring that all our directors are booked and busy.It's a balancing act between ensuring a good range of jobs. So helping build reels for young directors, but also sharing interesting projects with the more experienced directors, to help them progress in different ways.&nbsp;[vidtoken data:1]Above: The Smile - Free In The Knowledge, directed by Leo LeighBest or favourite video or videos last year that you weren’t involved with?<ul><li>Nathan Tettey’s Avelino ft. RA (Real Artillery) - GOD SAVE THE STREETS PT. 2&nbsp;</li><li>Rubberbandz for <a href="https://www.promonews.tv/videos/2022/12/20/lucky-daye-ft-lil-durk-nwa-rubberband/79786" target="_blank">Lucky Daye ft Lil Durk - NWA</a>&nbsp;&nbsp;</li><li>Felix Brady for <a href="https://www.promonews.tv/videos/2022/08/26/greentea-peng-look-him-felix-brady/78087" target="_blank">GreenTea Peng – Look To Him</a> (I’m a small gamer. I say small because I’m too busy to legit call myself a gamer)</li><li>François Rousselet&nbsp;for <a href="https://www.promonews.tv/videos/2022/06/13/pharrell-ft-21-savage-tyler-creator-cash-cash-out-francois-rousselet/76822" target="_blank">Pharrell's Cash in Cash Out</a></li></ul>I could actually name a few more too. So sorry for those I’ve missed out that I really should have included.What was other cultural highlight (or highlights) of the year?&nbsp;In terms of videos I feel KLVDR's video for&nbsp;<a href="https://www.promonews.tv/videos/2022/09/27/stormzy-mel-made-me-do-it-klvdr/78544" target="_blank">Stormzy's Mel Made Me Do It</a>&nbsp;and <a href="https://www.promonews.tv/videos/2022/11/11/raye-ft-070-shake-escapism-otis-dominique-raye/79239" target="_blank">Otis Dominique's for Raye's Escapism</a> were highlights. They both in different ways show the outcome/impact a video can have when you don’t focus on outside noise.&nbsp;Any other personal experience that defines 2022 for you?Travel last year was great - with and without work. Such an eye-opener for me, especially my trip to LA.&nbsp;Seeing the difference between people’s energies in LA and the UK and comparing it. From our Somesuch office over there and meeting those staff to other creatives I had the pleasure of meeting.Also going to karaoke for my first time ever, and experiencing that with Cliqua I feel is something everyone should experience.<blockquote>There will be a lot of exciting releases this year - I’m intrigued to see the visuals to come with it.</blockquote>2023What are you looking forward to in 2023 – both for work and for other parts of your life?I feel there will be a lot of exciting releases this year and I’m intrigued to see the visuals to come with it.&nbsp;On a personal level - planning on launching something this year but watch this space.&nbsp;As well as Somesuch’s film department - really excited to see the work we produce.Have you set work objectives for this year and if so, what are they?In my yearly review at Somesuch they asked us to write 3/4 goals for next year. I ended up writing about 6/7. I won’t disclose all but I’d like to win us 15+ Jobs. A few single bids for some of our directors. Bring in a certain number of budgets of a certain price range up.I won’t reveal too much more since it's enough having my team hold me accountable for my big goals. LOL!Who are the up-and-coming talents that you think will break through this year – or at least deserve to be successful?I have a few, even regarding artists. I’m not too sure what qualifies for up-and-coming these days so I hope these names don’t cause offence but...<ul><li>Jeano Edwards</li><li>Renee Maria-Osubu</li><li>Tajana Tokyo</li><li>Edem Wornoo</li><li>Gabriel Moses</li><li>Kay Ibrahim&nbsp;</li><li>Gabriella Kingsley</li><li>Taliable</li><li>Lydia Garnett</li></ul>There’s so much talent around at the moment, I could truly write a few more names down.[vidtoken data:2]Above: Adidas Originals x Wales&nbsp;Bonner, directed by Jeano EdwardsWhat is your prediction for the direction of the industry in 2023? And what will be the big trends for the year ahead?It’s always quite hard to predict, especially when sometimes videos and events can cause waves within the industry. I feel like we’d be moving towards a better direction for fairer pay and equity for creatives in music videos. Also:<ul><li>Short films, more narrative longer music videos, wider content around artists in addition to just videos.</li><li>More brands getting involved in music projects to connect to a younger audience.</li><li>One thing I’d personally love to see is more women directing music videos and being recognised through award shows like the UKMVAs.&nbsp;</li><li>Finally I think we’ll see more artists directing or being more involved within the creative process.</li></ul><blockquote>It would be great for videos to get more investment to realise the creative visions.</blockquote>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?Sometimes it feels like there can be a disconnect between briefs, creative expectations and budgets. We always try to be creative to pull things together and leaning on our connects, giving opportunities to younger directors, etc. But it would be great for videos to get more investment to realise the creative visions.The crews that work on these rely on the jobs for their day-to-day income, so there should be accountability to ensure everyone is getting to eat properly.If you could ‘make a wish’, and reform or change the environment in which you work in one way, what would you wish for?&nbsp;&nbsp;Like all the previous questions I could write a mini-dissertation on this. It is quite hard to choose one but I’d probably say, after having a conversation with Nathan Tettey about this recently and he summed it so well:"Creatives need to now be respectfully reimbursed financially for the work they put into music videos…"Have you made any personal New Year resolutions? And if so, how’s it going?I don’t really make resolutions because I always strive to be a better person / better version of me everyday. I am my biggest critique and truly set high standards for myself and those I work with. So I’d probably say to stay consistent and disciplined in everything I’m trying to achieve.•&nbsp;André Reid-McKinley is Music Video Rep&nbsp;at&nbsp;<a href="https://somesuch.co/directors" target="_blank">Somesuch</a> in London.&nbsp;

Andre Reid-McKinley

State of Play: André Reid-McKinley, Somesuch 

Tourist-'Your-Love'-by-Duncan-Loudon

The-Smile-'Free-In-The-Knowledge'-by-Leo-Leigh-

adidas Originals by Wales Bonner (2021) A film by Wales Bonner and Jeano Edwards

Rollo Jackson's arrresting visual for Overmono&nbsp;serves as a teaser for the electronica duo's new track Is U? - and their forthcoming debut album Good Lies.Jackson's video for the opening minute of Is U? begins with a aerial shot of a twisting road in the desert, then cuts between a BMW coasting along the road, and a&nbsp;Doberman dog (who also features on the album cover) sprinting&nbsp; towards the camera, creating its own tracks in the dirt.&nbsp;The video may be brief, but it leaves a powerful impression. The enigmatic atmosphere creates&nbsp;plenty of mystery around the new track.&nbsp;

Overmono 'Is U?' by Rollo Jackson

Overmono-'Is-U?'-by-Rollo-Jackson

Nia Archives takes a contemplative walk through late-night London, in the video for So Tell Me...Co-directed by Dan Emmerson and the artist herself, the video intercuts the gentle performance section with a series of slow-shutter vignettes, depicting the complex relationship between a young couple.&nbsp;Showing their lives in separate (yet interconnected) scenes, the video hints at the bond between them, which is confirmed at the end of the video when they detach from their different groups of friends to finally meet up.The bittersweet, romantic&nbsp;concept is beautifully executed, with the frantic cinematography reflecting the contrast of the track - a jungle beat set against melancholic melodies.&nbsp;Wonderful work.&nbsp;

Dan Emmerson

Nia Archives

Alt Jungle

Nia Archives 'So Tell Me…' by Dan Emmerson & Nia Archives

Nia Archives - So Tell Me…

The Weeknd is trapped in an emotional purgatory, in the Cliqua-directed promo for Is There Someone Else.&nbsp;Drenched in 1980s movie influences, the&nbsp;wonderfully cinematic video sees the artist reliving a memory of a time spent with a mysterious love interest, visualised through sultry choreography and an enigmatic, abstract concept.&nbsp;[imgtoken data:1]Exploring the idea of voyeurism - and taking its stylistic lead from archetypal Eighties fare by Brian DePalma and Adrian Lyne -&nbsp;the use of a masked version of The Weeknd&nbsp;suggests a doppelganger watching from afar, trapped in a loop of paranoia as he stares through a telescope.&nbsp;Diving into surrealist fantasy scenes towards the end, it's another&nbsp;tour de force&nbsp;of creativity, that builds upon the Dawn FM era, with a contemporary film noir-style edge.[imgtoken data:2]&nbsp;

Final Cut

Electronic

The Weeknd 'Is There Someone Else?' by Cliqua

The-Weeknd-'Is-There-Someone-Else?'-by-Cliqua

Ned Botwood directs a big-hearted love letter to the West Country, by way of the American West for Metronomy frontman&nbsp;Joseph Mount's wonderful duet with Katy J Pearson for Love Factory.This song is an absolute peach, and the video highlights the special chemistry that is created by bringing fellow west country artist Pearson on board. Botwood channels the visuals from 1960s US TV variety shows, and the legendary&nbsp;performances by Loretta Lynn, Dolly Parton and June Carter, blending&nbsp;British and American rural iconography, superimposing Katy and Joseph into sweeping Devon landscapes.Shot with a distinctly American flavour by DP Jamie Harding, the video trades prairie grass for wheat stubble and wide highways for narrow country lanes. The landscapes were captured over a sunset-chasing road trip through the South Hams in Jamie’s van.[imgtoken data:1]Ned, Jamie and editor Kevin Corry worked to recreate a variety of old-school televisual devices. Shooting country vistas to line up with studio performances, then using a combination of back projection, black negative space and lo-fi blending effects to merge them together.Eagle-eyed viewers will also spot a handful of homages to American cult classics, including Paris Texas, My Own Private Idaho and The Night of the Hunter. “What I love about this song is that it just sounds like it’s always been around, like an old standard on the radio," says Botwood.&nbsp;"It made me think of that golden age of country performances on TV in the late ’60s. Those variety hours like Kraft Music Hall and The Porter Wagoner Show.[imgtoken data:2]"Those shows really threw everything at the wall. All those charmingly janky sets and camera effects. Dolly Parton playing her Grammer guitar on a plastic porch, or Loretta Lynn superimposed onto rural Kentucky, or truly weird images like three disembodied Peggy Lee heads trading lyrics in different corners of the screen.“So much country music is about *home*. And if you absorb enough US culture, you can end up with this weird nostalgia for a rural heartland you’ve never actually been to. But it does make sense. When Dolly sings about her ‘Tennessee Mountain Home’, you understand that feeling instinctively, even if you’ve only been as close as the West Country. Katy, Joe and I are all connected to Devon. And sometimes when you’re down there, on the right day and in the right light, it really does look like the American prairie.”“Metronomy and Katy are two of my big indie heroes. So I was very sweaty when the email arrived! But I had the nicest team. Shoutout to Jamie Harding, who took me and his Arriflex sunset-chasing in Devon for two days. And Kevin Corry, who killed it in the edit.”