Meekz swaps out high-end cars for tanks in KC Locke's riotous promo for Can't Stop Won't Stop. 

Drifting around in the mud and sludge, the quickfire performance video opens with a night vision setup of Meekz and his team, and quickly launches into an unabashed, high-stakes spectacle. 

Raw, rough and ready, the aesthetic matches the track perfectly, and Locke's doubling up as DoP lends a sense of experimentation and polish that elevates the visual further. 

KC LOCKE: 

Meekz's unmatched energy and emotion in his music lent itself perfectly to my concept.

"This music video was all about pushing the visual limits and the process to its fullest. I had the idea to use tanks in a visual for around a year before shooting, and the producer Lewis Nicholson had built a good rapport with the tank operators so we could ensure that the idea would be executed in a precise manner.

"Waiting for the right time and the right artist to match the energy was incredibly important to gain the most impact on screen using this big idea. In my eyes, Meekz is the biggest up and coming artist from the Manchester scene, with an unmatched energy and emotion in his music which lent itself perfectly to my concept.

"I love collaborating with artists who are open to pushing the limits and to put themselves out of their comfort zone, willing to pass over their trust to me and the crew. Meekz spent a long wet 12 hours on set flying around on top of tanks doing 50mph, sliding across mud almost lying completely horizontal on top of the moving tank - something I’ve never seen before - while never missing a word.

At one point I was surrounded by three tanks with my back in the mud.

"I decided to DoP the video myself as I wanted to push my own personal limits. The video was intended to be a landmark piece in my portfolio, something that can eventually be a gem on the showreel and stand the test of time. We employed a host of different cinematography techniques ranging from race drones, to tracking vehicles and at one point I was surrounded by three tanks with my back in the mud spinning my own body to get the perfect shot.

"It’s all about utilising a wide range of processes to get what you need. Sometimes it has to be complex, but sometimes being able to shoot handheld whilst understanding the track so well that you can almost move with the artist as if you were attached to them creates a really great sense of movement and pushes the edit to the next level.

"The cut was done by Jamil Shaukat, who I have collaborated with on all of my past projects. The edit shows a great understanding of contrasting the timing of shots and allowing frames to live on screen, whilst constantly building up the pace and flow. He understands his craft and the way I shoot. This lets him confidently and quickly build an edit in which every cut is motivated and you can visually see the flow of the cinematography and track becoming one."