Jack Lilley directs a hypnotic promo for Ishmael Ensemble, featuring a powerful performance from vocalist Holly Wellington, shot in a single take. The visual is inspired by the rawness in the lyrics of Empty Hands, which was penned shortly after Holly finished a full year of treatment for breast cancer. “As well as holding elation and euphoria in one hand, in the other I was experiencing a lot of emotional pain as I started to process what had happened." Wellington explains. "Writing the lyrics, I was envisioning standing in front of God and laying it out plainly, ‘ok so I’m still here, now what?' This body has been through so much. Do with me what you want, this all must be for something, I’m here and I’m ready. Life post-treatment is undoubtably difficult, it’s been about untangling myself mentally and then focusing on what I need to flourish, and for me that’s making art.”This poignance and strength can be found in every element of the visual, from the unwavering performance through to the pulsating lights and overwhelming wash of colour in the backdrop. The result is mesmerising."For the video we just wanted to focus in on Holly's performance," says Jack Lilley. "The song really has a real drive to it and it felt that having her slowly rotate throughout the whole thing would enhance that feeling of slow, undulating rhythm."We also took the risk of shooting it all on 16mm despite only having the budget for two takes. However I think it paid off in the end as the texture that it offered just helped to give the performance a more authentic feel."

Rob Brown explore the highs and lows of a volatile relationship, in his promo for London/Leeds jazz collective Project Hilts. Cutting between punchy, transitionary performance setups and candid footage of a couple - played by Nia Towle and Roger Jean Nsengiyumva - the video for Dark Side feels universal in its approach, treading a story told many times but with a fresh, unique perspective. DoP Jamie Harding's camerawork brings a cinematic quality to the concept, carefully balancing authenticity with style.

Steve Stamp plays a lonely guy compelled to rebel against authority - in the form of a bumptiously self-important security guard - in Duncan Loudon's delightfully absurd accompaniment to Signal From The Noise, the first release from Canadian jazzers Bad Bad Not Good's new album.Over the track's psychedelia-influenced nine-minute duration, Stamp finds imaginative ways to rile his small-minded arch-nemesis - played by Michael Armstrong - in a Docklands-style open space where definition of private and public is notably blurred. His piece de resistance is the accurate puppet version of the guard to the space, provoking a predictably furious reaction.Shot on 16mm, with a natural grade of Oliver Ford's cinematography by Connor Coolbear at ETC, Loudon has applied a very contemporary look to a film that's really in the ballpark of classic silent comedy.Steve Stamp channels something of both Chaplin and Jacques Tati in his performance as the deadpan rebel railing against small-minded officialdom. It's great - and inspiring.

Joshua Fairbrother directs a high-energy dance piece for Mulvey's Medicine & Jolyn, featuring Grace Walker. Shot in a low-key studio setting - and captured in a single take - the video features dancers Diletta Cianci and Berny Owusu, who interpret the lyrics through impassioned movement and emotion. "Say Goodbye is about the realisation that we are holding onto love when in reality it is already gone." Jolyn notes. "We often define our relationships based on the memories of what we’ve been through together, avoiding the painful truth of how we are feeling today. The challenge of being able to look back with a smile, realising that we had an incredible time but also accepting that time and that relationships aren’t static."However hard it is, the ritual of saying goodbye can be a beautiful thing, allowing us to grieve but also to have closure, celebrate what we experienced together and move on to the next chapter in our lives."

Tom Ringsby directs a lilting promo for genre-blending artist MEI. Ankle deep in the murky waters of Deptford Creek, the video for Happy Man features the artist reflecting on memories in a blissfully bittersweet performance. The colour palette fits beautifully within the concept, whilst the use of subtle textures in post-production add an ethereal polish to the piece.

Filmawi returns with a surreal journey for Mansur Brown’s new single My Prayer.With Mansur leading as the main character accompanied by the cast of non-actors, Filmawi creates an alternate reality where the gritty urban setting is visited by mysterious forces, and the inhabitants are transfixed by the glowing mysterious phenomena that have started appearing.Hypnotic in it’s pacing and startling imagery, Filmawi’s docu-style approach is enhanced with impressive VFX work. A great middle ground between the everyday with an otherworldly atmosphere.The track lends itself very much to the mesmerizing imagery with soothing guitar, haunting melodies matches the energy of the dreamlike sequences making this one that will resonate with the viewer long after it’s finished.

In celebration of the exhibition Allez La France! at Saatchi Yates, the London gallery and exhibiting artists collaborated with British jazz drummer and 2020 Mercury Prize nominee Moses Boyd on a unique composition made in response to the works in the exhibition - performed by Boyd, and captured by French filmmaker François Larpin.Boyd's piece was inspired by the work of Hams Klemens, Jin Angdoo, Kevin Pinsembert and Mathieu Julien - who make up the French collective also known by their contemporaries as “Moderne Jazz”. They began their work between Marseille and Paris, painting on walls and under tunnels, creating large abstract works that existed exclusively within public spaces. This is the first time that the French collective have been shown together, within a gallery space.Moses Boyd is popularly known for blending multiple genres into jazz to create various new sub-genres, and has described his own music as "an extension of black music, the diaspora" which draws influence from afrobeats, soca, reggae, drum and bass and jungle music. This performance acts as an introduction to a forthcoming film about the intersection between art and jazz, centered around the four artists showing at the Allez La France exhibition - also directed by François Larpin.

Ashleigh Jadee directs a thought-provoking promo for Sons Of Kemet featuring Kojey Radical. In the video for Hustle, two dancers represent the duality present within any struggle to transcend internal limitations - until differing elements of the self are reconciled and act in unison.Following two dancers from the city, through nature and into the water, the concept explores the idea of rebirth and transcendence, with a breathtaking energy and powerful aesthetic. An amalgamation of craft and creative collaboration, the performance from The Jaiy Twins is truly arresting, and fits perfectly within Jadee's concept. “The meaning is not universal and the cultural context of the listener will shape their understanding. Yet in the end, the overarching message remains the same: For humanity to progress we must consider what it means to be Black to the Future,” explains Sons of Kemet’s Shabaka Hutchings, referencing the band's upcoming album title.