Sonia Bernardo plays an unreliable self-help 'guru' in Harry Tomlin's absorbing musical drama for the British/Portuguese singer-songwriter's song What, If Not The Family?The video is set in a community centre self-help group, where Bernardo talks (and in fact sings) to the assembled, reading from a printed leaflet. She paces around the room, bewitching the group as they listen intently. The camera lingers on their faces - and then members of the group start dancing, demonstrating the psychic hold that Bernardo now has over them. With a gently surreal, slightly unsettling sensibility - the use of slightly-off eyelines and unusual composition leans into this mood - Harry Tomlin has created an enigmatic, palpable atmosphere to frame Bernardo's performance of the song. "Sonia and I discussed this piece being an exploration of ideology and a narrator that we can't fully trust," he explains."She also wanted to incorporate the Portuguese dance 'bachata' which really excited me, giving us a chance to explore this contrast between the serious, stiff reality and the fluid, surreal dance realm."[This allowed] us a window into these people's soul through the slow embrace of dance," Tomlin continues. "I wanted to use Sonia's audience as a mouthpiece for the lyrics, both literally and through their body language."

Sam Taylor Edwards directs a poignant, evocative promo for Tsatsamis.Exploring an abstract world marked by vintage textures and artificial environments, the video has a dreamlike feel, stylistically leaning into shallow focus and unusual composition. Performance vignettes are intermixed with intimate shots of bodies and ethereal memories - experty edited by Taylor Edwards himself - creating a disorienting and calmly chaotic vibe. "I wanted the video to feel contemporary, but pay homage to the late Nineties work of Moby and Madonna," explains Taylor-Edwards. "The murky greens and ethereal blues have already been instrumental in the world that Tsatsamis and I have been building together, and I think the bleak and desolate art direction really compliments that."The song itself is about a painful memory which is why I felt using such references gives the overall tone of the video a feeling of nostalgia for the artist, as well as the viewer. I’ve also just always loved Nineties music videos, perhaps due to my own nostalgia."

Joe Connor captures surfer Ryan Watts' mastery of the waves pounding the North West Ireland coastline in his extraordinary video for Colorado-based singer-songwriter Gregory Alan Isakov.Connor collaborated with specialist cameraman Clem McInerney to shoot New Zealander Watts riding the pipeline through huge Atlantic Ocean waves crashing into the rocky coast of County Donegal. Watts's skill and enigmatic presence provides a highly effective accompaniment for Isakov's plaintive track Mistakes.It's astonishing footage - graded to a silvertone-tinged black and white by George K at Black Kite. Arguably the best ever shot for a music video.

Jasmine De Silva directs an all-singing, all-dancing promo for Cian Ducrot, marking an uplifting new direction for the Grammy-winning Irish singer-songwriter. Inspired by classic Hollywood musicals, the video for Who's Making You Feel It sees Cian at the centre of a series of playfully choreographed sequences, building to a cinematic climax. Packed full of charismatic charm and breezy vibes, it was also something of a departure for Jasmine De Silva, who had never attempted a choreography-based film before this project. But she was able to conjure an impressive old-school musical on a New York-style backlot stage, working with choreographer Liv Lockwood. "It was so much fun being part of Cian Ducrot's campaign, entering his new era," says De Silva. "He was awesome to work with from the beginning, with amazing energy and an inspiring dedication to step out of his comfort zone.We wanted to create the sense that Cian sparks joy in the characters he encounters."I pitched something that excited the hell out of me. I wanted to create a Kodachrome colour explosion, an Old-Hollywood-inspired mini musical, reminiscent of Singing In The Rain, La La Land and The Wizard of Oz - with a sprinkle of Michael Jackson's Thriller video."Given that I’ve barely watched musicals, have never worked with a choreographer, and can't dance, it made no sense for me to pitch this, but that made it a testament to the magic that can happen when you leap into new territory, and let the powerful net of collaboration catch you."Working with the incredible choreographer Liv Lockwood opened my eyes to the true meaning of less is more, by allowing the movement to tell this story. We wanted to create the sense that Cian sparks joy in the characters he encounters, and no matter how many times I saw the choreography with Cian and our wonderful dancers flying through the space, I just felt pure joy."Together they put so much work into it, yet it looks effortless. All of this was tied together with the seamless and mesmerising cinematography by Jed Darlington-Roberts, capturing the retro-Hollywood aesthetic with a twist."Filming in a New York backlot is a dream I didn't think would come true just yet. It was scary yet epic to have the luxury of working in a large set, when I'm so used to controlled studio environments. The backlot was a big part of building the world. Although it looks pretty realistic, I loved the idea of it appearing theatrical and hyperreal to amplify the musical approach."