Production Company

Stink Rising

A few months ago, up-and-coming director LOOSE got together with Bristol post punk outfit IDLES to direct the video for Beachland Ballroom. The collaboration has now produced three separate videos for the track - the latest being the Director's Cut - featured on Promonews today. We spoke to LOOSE, to get the full story.&nbsp;[vidtoken data:0]When Beachland Ballroom dropped in September - the first track to be released from the new IDLES album CRAWLER -&nbsp;&nbsp;so did a powerful one-shot video. It shows the band's charismatic frontman Joe Talbot&nbsp;in extreme close-up, while performing the song.Or at least he is attempting to do so. In fact, Talbot&nbsp;appears to be&nbsp;on the verge of collapse - straining&nbsp;and sweating, utterly exhausted, his lipsynced vocals emerge through gritted teeth.&nbsp;The camera unflinchingly captures some kind of&nbsp;ordeal.[vidtoken data:1]Then, a few weeks later, another video for the song appeared:&nbsp;'Official Video Part 2'. Here is another performance by Talbot - this time with the rest of the band, actually in a ballroom setting. Also this time, Talbot's movements are&nbsp;hampered by an invisible force, that's dragging him backwards.The relationship with the first video is clear - it's the same setting, but taken from a different, wider spot. It fully explains his pain and exhaustion in 'Part 1'.[vidtoken data:2]And now we have the third video for the song, and its perspective is wider again. In the Director's Cut, its not just a single performance, or location.&nbsp;This time, we have different expressions of the central device suggested in the first version and revealed in the second version -&nbsp;this invisible force, dragging Talbot backwards.It's now even more obvious that the effect is created by something genuine, that is pulling the singer back - bungee ropes, in fact -&nbsp;and then removed in post. And it also expands on the dual impact of the effect.It's clearly a problem for Talbot, a force that causes&nbsp;him no end of trouble. But let's face it, it's also visual, highly physical comedy, of a high order. In this version, Talbot adds another side to his personality,&nbsp;a greater&nbsp;element of Buster Keaton-style silent comedy hero.Same band, same director, same song... three videos, all connected, but all work on their own terms too. It's certainly an unusual kind of trilogy - so we asked LOOSE about how it happened.[imgtoken data:1]&nbsp;Promonews: Clearly the thing that is common to both 'Official Video - Pt 2'&nbsp;and the Director's Cut (and actually 'Pt 1' too, but we don’t see it) is how Joe is being dragged back by that powerful&nbsp;invisible force. What was the thinking behind that? And how did you achieve it?LOOSE: The whole video came&nbsp;from a&nbsp;conversation between Joe and I about the track, and how&nbsp;it’s&nbsp;about his past drug&nbsp; addiction. He said in&nbsp;some ways, he felt like he was walking&nbsp;through life as if he was&nbsp;invincible, but ultimately, his&nbsp; substance&nbsp;addiction&nbsp;was slowly tearing him apart.<blockquote>The idea came from a conversation with Joe about his past drug addiction.&nbsp;</blockquote>The bungee analogy came quite naturally from this. You can be on top of the world and seemingly normal, but suddenly you hit a point of resistance and it drags you right back. As the video progresses, this becomes more intense and physically Joe deteriorates.We achieved this effect using a&nbsp;lot&nbsp;of&nbsp;human strength&nbsp;on set - shout out the runners! -&nbsp;some smart costume design, a smart rigger and VFX.[imgtoken data:2]Two different videos released for The Beachland Ballroom, and now a Director’s Cut. What’s the story behind this unusual situation?We never&nbsp;really&nbsp;planned for there to be three versions. But as the edit process unfolded, we found that certain scenes told such intense stories&nbsp;they were stronger standing alone.&nbsp;They acted better alone. As the treatment for the video was written around a concept, as opposed to a narrative, this&nbsp;definitely felt like the right thing to do.&nbsp;It was completely fine to me.&nbsp;The video was an experiment into how far we could push the bungee concept and the rollout reflected our greatest results.It’s unusual to release multiple parts to videos. But the fans seemed to really feed off it, and the response was&nbsp;exactly what I&nbsp;wanted. The YouTube comments are full of fascinating interpretations of the track and videos,&nbsp;and the multiple releases only propelled the dialogue which feed&nbsp;off the&nbsp;differing perspectives.<blockquote>I sat Joe down, and asked him to perform the track one last time.</blockquote>Part 1 is actually the very last thing that we shot. Being tugged around by the bungee cord was exhausting for Joe, and by the end of the shooting day he was completely in&nbsp;pieces. Joe’s feet were wrecked from an ongoing foot injury, and we had to pull a couple of shots because he was struggling to stand up for too long. I sat Joe down, and asked him to perform the track one last time. The shot was uncomfortably tight and I shook the camera myself on the tripod to replicate the shakes Joe had.Originally, this was just meant to be a cutaway from the video, but the team saw it and felt the intensity&nbsp;of the&nbsp;one shot conveyed the emotion of the song in a way that we could never have planned for.My original film was all about a developing pain and frustration from having an invisible force constantly fighting against you. The shot of Joe’s distraught eyes singlehandedly embodied this pain in a completely authentic way, which could have only been achieved on such&nbsp;a physically&nbsp;gruelling shoot day.[imgtoken data:3]Joe looks genuinely exhausted. Was it always your intention to get that shot? And was its intensity the reason why they wanted to go with that as a one-shot?Joe was completely exhausted! My plan was always to get this shot,&nbsp;however&nbsp;when we got to it&nbsp;we literally had five minutes before the location was&nbsp;closing and shutting their doors&nbsp;on us.&nbsp;This added an&nbsp;extra&nbsp;added&nbsp;layer of urgency which meant we only had one chance - I was left to operate the camera and light, as everyone was packing&nbsp;down the kit.&nbsp;The intensity ten-folded, and we literally did one take.The hurt you can see from Joe is entirely real - he’s covered in sweat and his eyes look ruined. He watched the footage back and saw the version of himself the track is written about. The coherence of this feeling, image and song made it a no-brainer to launch with!The&nbsp;way in which this idea&nbsp;this was conceived meant that we had to be just as reactive with the delivery and birth. The whole decision-making process, for the whole team, was about doing what felt most right for everyone involved.[imgtoken data:4]Above: shooting the band performance at The Rivoli Ballroom, with frontman Joe Talbot attached to&nbsp;bungee ropes. Photo: Tom HamSo what was the thinking behind releasing the ballroom performance as a version in itself for Part 2, and then the Director's Cut?The second part of the saga is more straightforward. The band loved the ballroom scene and felt that the effect of Joe fighting the&nbsp;bungee, unclouded by the different locations, told the story of the concept most effectively.After associating the track with such an intense pain in the first video, the band wanted to continue with the simplicity of using a single location for the second part too. They actually edited this one themselves!<blockquote>The DC was actually our first version of the video to be edited.</blockquote>And I’m&nbsp;not usually a fan of a Director's Cut - I can rarely tell the difference from the&nbsp;original&nbsp;client cut! -&nbsp;but in this case, I had so many shots pushing Joe’s altered physicality further,&nbsp;that the edit created a whole new narrative. I was&nbsp;felt&nbsp;keen to release these to act as a bit of a resolution to parts 1 and 2.Where did you shoot the video?We shot all but the ballroom in the Crystal Palace Stadium. Joe’s only request other than the ballroom was that we worked within Brutalist structures - this runs throughout all of their visuals. The cohesive and regimented structures really contradict Joe’s hectic and disorderly movement, which added to the portrayal of his incoherent&nbsp;physicality. The ballroom was the Rivoli in Brockley, a legendary spot.[imgtoken data:5]How hard was it to complete the Director's Cut, especially as the other versions have performed very well?The DC was actually our first version of the video that was edited.&nbsp;Everything else was deconstructed backwards. I’ve been so excited to put it out because the two different parts&nbsp;have had fascinating interpretations and feedback attached. Hopefully, this gives a third angle to the story. And big thanks to our editor, Ed [Cooper at The Assembly Rooms] for sticking with us in the edit.How happy are you with the DC? Will there be any more versions?I love the DC! It offers a more in-depth study on Joe’s physicality in Part 1 and 2, which allowed me to push the concept even further!• LOOSE is with Stink Rising for&nbsp;music videos, and represented for music videos by Hands London. Check out more of her work <a href="https://stinkfilms.com/artist/stink-rising-loose" target="_blank">here.</a>&nbsp;Full credits for the Beachland Ballroom videos <a href="https://www.promonews.tv/videos/2021/10/20/idles-%E2%80%98beachland-ballroom%E2%80%99-parts-1-2-loose/74347" target="_blank">here</a>.

LOOSE

Stink Films

LOOSE on IDLES' 'Beachland Ballroom' trilogy - "We never planned for three versions." 

IDLES - The Beachland Ballroom (Directors Cut)

IDLES - THE BEACHLAND BALLROOM (Official Video, Pt. 1)

IDLES - THE BEACHLAND BALLROOM (Official Video, Pt. 2)

IDLES ‘Beachland Ballroom’ (Parts 1 &2) by LOOSE

Parts 1 &amp; 2 of LOOSE's video for IDLES' Beachland Ballroom.[vidtoken data:0][vidtoken data:1]The release of a second version of the video certainly puts the first one in some kind of context. Now we have some kind of idea why Joe Talbot is a physical wreck, caught in the pitiless gaze of a camera close-up, in Part 1.Now we now he's being constantly pulled back, and must fight to stand his ground, as he performs the song with the band in The Rivoli Ballroom.

United Kingdom

Shea Coleman

Hannah Bellil

Dom Mckiernan

Tom Kelly

Thomas English

Adam Conlon

Trey Joel

Ryan Delahunty

Rose Moya

Molly Mishi May

Simon Donnellon

Hands 

Edward Cooper

The Assembly Rooms

Sinead Mcgowan

Rock

Post-Punk

Olivia Rose directs a stunning and harrowing promo for Zoe Wees' new track That’s How It Goes,&nbsp;featuring 6LACK.Exploring the power of facing your inner demons - and the empowerment that follows afterwards - we see the artists in an industrial complex, performing within hidden tunnels and concealed rooms.&nbsp;Elevated by sharp styling and enigmatic cinematography, it's a unique and effective concept, that is built upon Rose's masterful knowledge of how to direct performance.&nbsp;"Sometimes you need to find the darkness within to bring an idea to light," comments Olivia Rose.&nbsp;"That's How It Goes&nbsp;is an exploration of internal struggle and our inner demons - brought to life by the track itself."

Olivia Rose

Noël Schoolderman

Zoe Wees ft 6LACK 'That’s How It Goes' by Olivia Rose

Olivia-Rose-'Zoe-Wees--Ft-6lack---That’s-How-It-Goes-By-Olivia-Rose'-by-Olivia-Rose

Olivia Rose captures the mournful stage after a failed relationship, in her promo for&nbsp;Sasha Keable and Jorja Smith's new track Killing Me.Exploring inner strength and identity, the video is built of lingering vignettes which showcase a shared experience, with both artists wearing the same clothes, repeating each other's movements and learning to grow from the pain of their past.&nbsp;The considered styling and art direction reflect&nbsp;the tumultuous emotions in the track, whilst refracted light and water effects add a rich texture to the aesthetic.&nbsp;

Frankie Willcock

Gabriel O’Donohoe

Nathalie Pitters

Catharina Scarpellini

Ashton Born

Shaun Waldie

Sarah Asmail

Zahra Asmail

Lauraine Bailey

Emily Wood

Alex Wood

Jason Wallis

Nicola Sheppard

Zateesha Barbour

Carol Lopez Reid

Sasha Keable X Jorja Smith 'Killing Me' by Olivia Rose

Olivia-Rose-'Jorja-Smith-X-Sasha-Keable-'killing-Me'-By-Olivia-Rose'-by-Olivia-Rose

Dom Mckiernan has joined Stink in London as Music Video Executive Producer, work with the diverse roster of talent at Stink Films and Stink Rising&nbsp;in their music video creative output.Mckiernan moves into production at Stink - reporting to&nbsp;Hannah Bellil, Global Head of Stink Rising and Music Video - having worked for the last three years at Warner Records. He joined&nbsp;as a visual creative coordinator and for the last two years has fulfilled the role of creative commissioner, working with artists such as Griff, Priya Ragu, Biffy Clyro, Foals, Royal Blood, HYYTS.He began his&nbsp;career as an intern at Island records in 2016, after completing a BA in Popular Music at Falmouth University.&nbsp;Totally immersed in music video culture, with a deep knowledge and understanding of the market and emerging trends,&nbsp;Mckiernan will support London’s Stink Music Video department with a focus on creative development and communicating the roster’s industry leading directorial talent.“I’m deeply proud to be joining the Stink family," says Mckiernan.&nbsp;"They’re home to an unparalleled roster of talent, whose music video careers I look forward to nurturing and supporting.”&nbsp;He arrives as&nbsp;Stink Films and new talent division&nbsp;Stink Rising have released a succession of creative music videos from both up-and-coming and established directors, and welcomed new directing talents to the roster.The work includes three videos by new signing LOOSE, for Berwyn, Fred Again and Nico B; the signing of singer and director Wesley Joseph, who shot Patience, featuring himself and Jorja Smith; Geej Ower shooting for&nbsp;English musician, composer, visual artist, and poet Keaton Henson;&nbsp;Douglas Bernardt’s latest richly atmopasheric video for Masego; Eoin Glaister's English seaside comedy for&nbsp;Liverpool DJ Mentis. The UK roster is represented for music videos by Hands London.&nbsp;Hannah Bellil, Global Head, Stink Rising &amp; Music Video adds: “We're thrilled to have Dom on the team. He'll bring a wealth of experience and creative energy from his successful commissioning stint at Warner Records and will be a fantastic support to our roster of directors.”• Stink Films &amp; Stink Rising directors rosters&nbsp;<a href="https://stinkfilms.com/united-kingdom/directors" target="_blank">here</a>&nbsp;

Dom Mckiernan joins Stink as EP of Music Video 

Eoin Glaister captures the erstwhile ambitions of a frustrated smalltime DJ&nbsp;- played by BAFTA-winning actress Lauren Socha - in his return to music videos for Liverpool DJ-producer Mentis.Glaister&nbsp;captures the tragi-comic trials and tribulations of Kent’s premium mobile party provider, DJ Debs - played with real pathos by the superb Socha - in the video for Excuses, featuring Kate Wild.&nbsp;Her dream is to be a proper superstar DJ in Ibiza. The painful truth is that she is playing children's parties and weddings... if she's lucky.It's a classic comic storyline of the hapless wannabe, whose dreams of fame bear no resemblance to the reality. But in this case, it's made all the more poignant and funny&nbsp;due to Lauren Socha's performance&nbsp;- and by the fact her character begins to realise that she is not destined for stardom. She becomes increasingly disillusioned by her situation - but it's then when things finally start to turn around...&nbsp;Eoin Glaister has done a wonderful job with a great part for a superb actor and a down-at-heel setting that works perfectly for the narrative. Shot on 16mm, using an Arri SR3, this was achieved on what EP Hannah Bellil describes as a&nbsp;"three day escapade with a really close knit team" in the more run-down towns along the Kent coast, which allowed Socha get up to some seaside hijinks, including an 'Ibiza dream sequence' with a&nbsp;jet-ski.&nbsp;“We had so much fun making this," adds Bellil. "Lauren is an amazing talent and the opportunity for Eoin to build in dialogue with her was a total joy. However, I didn’t get to go on the jet ski, so I will be going back... to Ibiza this time.”&nbsp;[imgtoken data:1]

Eoin Glaister

India Bradshaw

Anna Peduzzi

Tom Wynborne

Joe Ramsden

Ed Hubert

Rich Savage

Chris Starkey

Sheherezade Amy El Moumni Beradï

Greg King

Nick Stombs

Pablo Garrido Carreras

Florence Jones

Hugo Harris

James Forbes Robertson

Trim Editing

Jack McGinity

CHEAT

Lauren Socha

Hands London

Michael Lewin

Columbia Records

Cinelab Film and Digital

Dance

Mentis ft Kate Wild 'Excuses' by Eoin Glaister

MENTIS - Excuses (Official Video) ft. Kate Wild

British singer and producer&nbsp;Wesley Joseph self-directs the mesmerising video for his track Patience, with featured artist Jorja Smith as his co-star - in his first outing since signing to the directing roster at Stink Rising.As with his excellent self-directed videos for&nbsp;<a href="https://www.promonews.tv/videos/2021/03/24/wesley-joseph-thrilla-wesley-joseph/70135" target="_blank">Thrilla</a> and <a href="https://www.promonews.tv/videos/2021/05/21/wesley-joseph-ultramarine-wesley-joseph/71001" target="_blank">Ultramarine</a>,&nbsp;Joseph creates a visually striking world with a dreamlike quality, comprising of&nbsp;apparently disconnected&nbsp;scenes - teenagers united in grief, two young boys happy on their bikes, an outburst of violence, and so on - which gain meaning when taken as a whole.&nbsp;Wesley and Jorja witness these hyperreal, humanist&nbsp;scenes as they drive&nbsp;through their hometown in a white vintage Mercedes. And while distracted by the visions they see, they are involved in a&nbsp;head-on collision.[imgtoken data:1]In the aftermath of the wreck, both artists perform in the carnage of the accident, and then into a metaphorical 'heaven-like' space. The dramatic subnarratives that they saw earlier outside the car come to an emotive conclusion at the end.Joseph performs from within an expanse of flowers as if he is visiting his own graveside, while Jorja Smith arrives as a presence in the video as the mortally injured victim, hurled away from the flaming car.[imgtoken data:2]The video,&nbsp;shot over two days in&nbsp;Surrey, is redolent of Kendrick Lamar's videos, particularly the video for Element, and the work of David Lynch. It's&nbsp;the latest and most substantial work yet from the Birmingham-born musician, producer and filmmaker, who originally came to London&nbsp;in 2016 to study film, and then began making music, and is now proving to be successful in both fields.Joseph now joins the Stink Rising roster, and will be globally represented by the new talent division of Stink Films, the production company with offices around the world.&nbsp;[imgtoken data:3]“I’m really excited to be joining forces with the visionaries at Stink Films," he says. "This first collaboration with them was a game changer in terms of facilitation and pushing boundaries. I’m really appreciative to be in the company of like minded, eccentric creatives, and for having the opportunity to work on more progressive and ambitious projects together.”&nbsp;Hannah Bellil, Global Head, Stink Rising &amp; Music Video&nbsp;adds:&nbsp;“We’re so happy to have partnered&nbsp; with&nbsp;Wesley&nbsp;on his latest single and video&nbsp;for Patience. I’m delighted to welcome him into the fold and join the Rising family. Major talent and a really bright future ahead.”&nbsp;

Wesley Joseph

Pieter Snyman

Josh Tue

Patrycja Cygan

Tommy McMahon

James Duffy

Zara Asmail

Luz Giraldo

Holly Shearn

Hannah Ashby Ward

Sam Allen

Homespun

Ben Gallagher

Nice Biscuits

James Bamford

The Mill

Hip Hop

Alternative

Wesley Joseph ft Jorja Smith 'Patience' by Wesley Joseph

Wesley Joseph - Patience feat. Jorja Smith (Official Video)

LOOSE follows up <a href="https://www.promonews.tv/videos/2021/04/16/berwyn-100000000-loose/70414" target="_blank">her video for 100,000,000</a> with a spectacular one-shot promo for Berwyn's I'd Rather Die Than Be Deported.&nbsp;Shot in a guerilla fashion, the video sees the artist performing&nbsp;as he hangs out of a convertible car driving over the Dartford Crossing.&nbsp;Despite the adrenaline rush of moving vehicles and stunt shots, the video echoes a reflective, nostalgic vibe, inspired by the themes of the track.

Scarlett Barclay

Joe Starrs

Christopher J Orr

Charlie Hutchins

Jonny Thorpe At Glassworks

Frankie Noller

Chris Steel

Freestyle

Berwyn 'I'd Rather Die Than Be Deported' by LOOSE

BERWYN - I'D RATHER DIE THAN BE DEPORTED [Music Video] | GRM Daily

LOOSE&nbsp;directs a poignant promo for Berwyn's latest song, the heartfelt&nbsp;100,000,000.&nbsp;The video seamlessly connects several clever setups in and around a car, utilising motion control, fluid art direction and visual effects to form an&nbsp;abstract yet interconnected narrative.&nbsp;The setting is of particular importance, given the story of the song. As Berwyn explained&nbsp;on Instagram: "Wrote this (track) in YMCA carpark sitting in the driver's seat of the car I was sleeping in. For that she's a special one of my children so I hope u like her." &nbsp;The performer's natural charm and wit shine through in the performance, switching between different eras of his life with ease, paying homage to the struggle whilst celebrating where he is now.&nbsp;Effortlessly engaging and innovative, it's a blinder of a video by the director now operating under the monicker LOOSE - fka Lucy Hickling). It's&nbsp;anchored by&nbsp;her love of character and narrative, and DoP&nbsp;Sam Meyer's wistful cinematography.&nbsp;

Sam Meyer

Peter Swinford

Max Edmed

Mark Stewart

Bon Walsh

Pete Fullerton

Jonny Thorpe

Berwyn '100,000,000' by LOOSE

Berwyn-'100,000,000'-by-Loose

Following last year's unlikely hit Mary Berry, Niko B is back with International Baby, and an energetic promo directed by Lucy Hickling (aka LOOSE).Shot at various locations in&nbsp;Milton Keynes - hometown of&nbsp;Thomas Austin, aka Niko B - the video features a string of tongue-in-cheek vignettes. It's absurd and nonsensical, but in the best way.&nbsp;It's a visual that matches the understated, random nature of Austin's music, with a focus on accessibility and playful lyricism over emotion or substance.&nbsp;

Donny Johnson

Idris Rhys

James Middleton

Comedy

Niko B 'International Baby' by LOOSE

Niko-B-'International-Baby'-by-Lucy-Hickling

Petr Simon calls for a self-love revolution in his powerful promo for Danitsa's Let Go.&nbsp;The digital rat race and our social media-obsessed society&nbsp;are examined under an abstract lens, reinterpreted as frenetic dance scenes and surreal, otherworldy set pieces, as the artist isolates herself in nature to try and gather her thoughts.&nbsp;Broadcasting the message that our self worth should not be influenced by our&nbsp;digital perception of others, the concept is a plea for self-validation and staying true to our own character, and is beautifully visualised through a succession of innovative setups.&nbsp;DoP&nbsp;Konstantin Mazov intertwines a nostalgic, almost vintage aesthetic with notable reminders of the modern world, and does so with masterful flair.&nbsp;

Sweden

Petr Simon

Tsellot Melesse

Florian Huelbig

Konstantin Mazov

Karl Neubart

Annelene Von Lücken

Louis Reiss

Olive Duran

Isabel Maria Simoneth

Marek Bihun

Maximilian Duwe

Danitsa 'Let Go' by Petr Simon

Danitsa-'Let-Go'-by-Petr-Simon

The everyday commute to London is not all&nbsp;it seems, in the cheerful promo for Fred again.. by Lucy Hickling, aka LOOSE.&nbsp;Reworking vocals from Julia Michaels, ripped from one of her Instagram posts (with full permission of course), we see Fred in various city locations, typing on his laptop.As we follow his journey, however, it is revealed&nbsp;that Fred isn't typing, but instead creating the track and playing the piano on his laptop.No doubt a recognisable concept for many on-the-go music producers, Hickling turns an everyday occurence into the main focus of the concept, intermixed with short, day in the life vignettes.&nbsp;Switching between vertical aspect ratios and&nbsp;traditional 16:9, the cinematography matches the fluidity of the concept, feeling very much off the cuff and authentic.&nbsp;

Pete Fullarton

Electronic

Remix

Fred again.. 'Julia (Deep Diving)' by LOOSE

Fred-Again-'Julia-(deep-Diving)'-by-Lucy-Hickling

Lewis James directs a memorable, high-flying performance video for Yungblud, live at the 2020 MTV EMAs.&nbsp;With an artist as innovative and groundbreaking&nbsp;as Yungblud - who has already made waves this year with videos including&nbsp;<a href="https://www.promonews.tv/videos/2020/09/29/yungblud-god-save-me-dont-drown-me-out-yungblud-gavin-gottlich/66921">God Save Me</a> and the official promo for <a href="https://www.promonews.tv/videos/2020/10/28/yungblud-cotton-candy-tanu-muino/67499">Cotton Candy</a>&nbsp;- everyone was expecting a unique and refreshing performance, and he absolutely delivers, soaring high above the stage in a handful of eclectic outfits, all inkeeping with his bold and multifaceted persona.&nbsp;It's a&nbsp;tour de force&nbsp;of creativity, an amalgamation of everything that makes an EMA performance engaging and iconic, and masterfully captured by James and DoP&nbsp;Thomas English.&nbsp;

Lewis James

Octavia Landy

Itsi Djuroska

John Flynn

Sally Lock

Terri Grisdale

Insa Von Der Luehe

Yungblud 'Cotton Candy/Strawberry Lipstick' (Live at MTV EMA's 2020) by Lewis James

Yungblud--'Cotton-Candy/strawberry-Lipstick-(live-From-The-Mtv-Ema/2020)'-by-Lewis-James

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