Pitbull and Blake Shelton mash up Miami and Nashville party vibes in Gil Green's video for Get Ready. Utilising a sample of the Ram Jam Band's '70s banger Black Betty with a blend of country and pop elements, Get Ready is an exciting floor-filler, and Green's video pushes the various influences through glossy setups and plenty of choreography. Switching between a modern rodeo and a party outside the Seminole Hard Rock in Miami, the visual fuses Shelton and Pitbull's styles, paying homage to where they are from but also to what they have become. DoP Joe Labisi brings the heat with an array of Steadicam and drone shots, mirroring the abundance of dancing and movement throughout. Editor T David Binns keeps the pace with a quickfire yet cinematic cut, letting the glitz and glamour of the concept shine through whilst packing a huge amount of material into less than four minutes. A perfect throwback to Pitbull's earlier work, with an even more ambitious vision this time around.

Halsey pays homage to her musical idols in Colin Tilley's video for You Should Be Sad. Inspired by dramatic country hits about heartbreak and unrequited love, Halsey injects her own sense of style and personality into the genre, creating a hybrid sound that is every bit as catchy as her pop fare. The video opens with Halsey hopping out of a car, fishnet tights and cowboy hat at the ready. Cycling through several different outfits in the video, viewers will recognise nods towards Britney's In The Zone era, Lady Gaga-style wigs and even the iconic leopard print ensemble from Shania Twain's That Don't Impress Me Much. With line-dancing and choreography at the centre of the action, the video is unapologetically country, and really hits the mark throughout. Tilley's eye for composition and conceptual setups keeps the video fresh at every turn, and Halsey's confident performance bolsters the ambitious concept. It's sweaty, it's sexy, and above all it's a very solid pop video.

Mats Udd plays it straight - well, almost - in this glossy performance video for Swedish singer Sarah Klang.Just as the song Creamy Blue harks back to a golden age of country pop, Klang dons chiffon under studio lights and Udd pulls out the filters to recreate the look of a Kate Bush appearance on a light entertainment TV show in the '80s.With a song played for full-on sincerity - Klang's style is not dissimilar to her friends First Aid Kit, who she has supported on tour - Udd's aims for pastiche without overplaying the comedy.

Lola Kirke is transformed into a prim and proper matriarch in Kirke’s latest music video for her single Mama, directed by her sister and actress/director Jemima.The visual follows the leading lady - played by a made-up and aged Kirke - as she abandons performance and gives in to glutinous temptations. Focusing on her isolation in a space that is meant to be home, but feels cold and alien, Kirke's character is reflecting on her circumstances, and whether life is stacking up to what she expected it to be. Lensed by Rafe Scobey Thal, the video is drenched in natural sunlight, which brings out the location's natural beauty and elegance, and also accentuates the clever aging makeup by Ruthie Weems. Lola Kirke is great in her role too, putting her all into a character who is lost at a late stage in her life, and who has decided to abandon what it means to be a "real lady" to start living on her own terms. A great little video with a well executed, simple concept.

Lil Nas X's Old Town Road, featuring Billy Ray Cyrus, has been a surprising American No.1 that's kept Taylor and Shawn Mendez from the top of the charts (and possibly will Ed and Justin too), that now finally gets a proper official music video - and it's a banger.Cowboy bank robbers in 1889, Nas X and Billy Ray make their getaway after a heist, but dodging bullets leads Nas to fall through a wormhole to the present day. Much fun ensues in this hugely entertaining video directed by Calmatic, produced at Prettybird, and including numerous cameos, including Chris Rock and Vince Staples. The VFX work was achieved at Electric Theatre Collective's LA studio, and graded by British colourist Jason Wallis.

This wonderful video by Chris Ullens for country star Lee Ann Womack brings the story of a crumbling relationship to life in a way that's both familiar and new: stop motion animation meets live action to quite brilliant effect.It's a couple - Lee Ann and her narcissistic boyfriend - on a road trip through iconic California, a series of motels and car journeys as he seeks fame and she provides selfless support. The brilliant conceit is that this believable world is created through a combination of puppets, miniature models and real locations, rear-projected and edited with a level of craft that blurs the lines between live action and animation.Ullens has so much experience as a stop motion animator, and a storyteller and its really demonstrated here. It's one of the best things he's ever made.

UK country duo Ward Thomas's song No Filter is about the bottling up of feelings and then letting go. This gets a terrific interpretation in Daniel Broadley's video.Broadley presents three vignettes showing the struggles and anguish of three young people, pulled together with sisters Catherine and Lizzy Ward Thomas's riveting performance of the song, and their shared therapy session.And if the seriousness of their issues and evident lack of self-worth sparks our curiosity - and each set-up is beautifully photographed by DoP Ben Coughlan - the payoff is superb. There's a roar of pain that becomes cathartic, and brings everyone together at the moment when the emotion of the song is at its peak. Powerful stuff.

Miley Cyrus takes a 'wild ride', with the police in OJ-style pursuit, in the Easter egg-laden vid for Mark Ronson's s Nothing Like Breaks Like A Heart, directed by French directors We Are From LA.With Miley's superfans lining the road, there are numerous references to her past career. And then she visits the dark heart of America, in her unscheduled pitstops to a lapdance attended by gawping priests, and kids getting their shooting training in early at the firing range.And then Miley shows us her bum - a 'Britney Spears reference' apparently.It's a wild ride alright - including a spectacular entrance by Ronson himself, possibly channeling Tom Cruise in any Mission Impossible movie. Consequently the video is a superbly dense and impressively satirical exercise by We Are From LA - and executive produced by Romain Gavras - for a sure-to-be-huge sad-country-disco banger...