Production Company

Octopus Inc

Music Video Preservation Society returns to the Tyneside Cinema in Newcastle on Friday, October 16th for a special night of audiovisual entertainment - with the directors of videos for Mercury-nominated artists Suede and Knats.Presented as one of the Mercury Fringe events leading up the 2026 Mercury Prize ceremony in Newcastle on Oct 22nd, <a href="https://tynesidecinema.co.uk/event/music-video-preservation-society/" target="_blank">Music Video Preservation Society: The Art Behind The Song</a>&nbsp;will showcase the best videos and other visuals that have accompanied this year's nominated albums.MVPS host David Knight has also invited some special guests - directors of videos by two of the nominated artists - to talk about their work.Chris Turner is a hugely experienced music video director - working under his monicker Favourite Colour: Black - who directed two great videos last year for Suede’s stunning return to form with the album Antidepressants. Chris will talking about how he captured the legendary Britpop outfit in full flow - and engaged with their avid superfans - for those videos, and reflect on more than a decade making videos for a wide range of artists, from folk-rocker KT Tunstall to new girl group Say Now.And rising director Lulu Vicedomini has been working with Knats, Newcastle’s very own exciting young jazz prodigies, who are also Mercury-nominated this year. As a director and creative director working at the band’s label - and also signed&nbsp;as a director at <a href="https://tynesidecinema.co.uk/event/music-video-preservation-society/" target="_blank">Intergalactic Studios</a> - we will hear how Lulu has been integral to the visual art accompanying their album A Great Day In Newcastle&nbsp;and the opportunities for young creatives in UK music.There will be lots more too - including videos from this year’s nominated artists, including Olivia Dean, Dave, Florence + The Machine, JADE, Kojey Radical, Paul McCartney and RAYE. And there will be a special report on the visual content accompanying nominated album HELP 2, created for the War Child charity, supervised by Oscar-winning director (and music video legend) Jonathan Glazer.• Tickets for Music Video Preservation Society: The Art Behind The Song are available now at the Tyneside Cinema box office <a href="https://tynesidecinema.co.uk/event/music-video-preservation-society/" target="_blank">here</a>.

Favourite Colour: Black

Lulu Vicedomini

Intergalactic Studios

MVPS Mercury Prize special in Newcastle - with directors Favourite Colour: Black and Lulu Vicedomini

Cam Heyes directs a dazzling promo for Leigh-Anne.The video for Tight Up Skirt finds the artist as a toy store clerk, trying to shift old Leigh-Anne dolls whilst the new versions fly off the shelf.&nbsp;Orbiting themes of ego, catharsis and reckoning with an old version of yourself, the video mixes live action and animation to bring the story (and the dolls) to life.&nbsp;An endlessly watchable, feel-good video for one of Leigh-Anne's best tracks to date. Well worth a watch.&nbsp;[imgtoken data:1]Some more info from director Cam Heyes on creating the video:&nbsp;"When conversations around the Tight Up Skirt video first started, Leigh-Anne and I knew we wanted to revisit her past, but on her own terms. The obvious place to start was the infamous Little Mix doll.Leigh-Anne had always felt a certain disconnect from the doll. While it became an enduring symbol of a particular moment in her career, it never fully reflected how she saw herself. Rather than ignore that history, we wanted to embrace it and reframe it as part of a larger story about growth and self-discovery.[imgtoken data:2]"At the same time, we wanted to create something completely unexpected. Much of the visual world around Leigh-Anne's recent work has been high-energy, performance-led and rhythm-driven. For Tight Up Skirt, she was looking for something more nostalgic, characterful and story-led. Around that time, I kept seeing videos of dancing dolls and animated toy collectibles online, which sparked the initial idea.The concept evolved into a mid-'90s toy store, where Leigh-Anne plays an exhausted, unenthused cashier. Sitting forgotten in the clearance aisle is the original Leigh-Anne doll, a relic from a previous chapter. But she's about to be replaced by a brand-new product: Leigh-Anne 2.0 — The Ego Edition — complete with her own premium point-of-sale display.[imgtoken data:3]"As the store comes to life after hours, the other dolls gather to meet the new arrival. They're wary of her arrival, but they can't help being drawn to her. That became the heart of the film. Leigh-Anne 2.0 only exists because of everything the original Leigh-Anne experienced. One version isn't better than the other — they're simply different chapters of the same story."Leigh-Anne and I spent a lot of time refining the design of the Ego doll, eventually drawing inspiration directly from the album artwork. One of my favourite details was bringing Jade and Perrie's dolls into the toy-store universe as cameos. We had to secure clearance for them, but it was absolutely worth it — fans spotted them immediately."Production took place at Vessel Studios in Liverpool, timed perfectly around Leigh-Anne's visit to the city for the MOBO Awards. In a nice full-circle moment, we even put out a call to fans to help track down one of the original dolls so it could be scanned and faithfully recreated for the film."One of the most rewarding technical challenges was the dance sequence. Leigh-Anne's choreographer, Nicole, performed the routine multiple times as a motion reference for the dolls. Her movements were tracked and translated in post-production, allowing us to recreate the choreography with the toy characters and sell the illusion that these tiny plastic figures had suddenly come to life."With influences ranging from Small Soldiers to NSYNC's iconic It's Gonna Be Me video, the goal was to create something playful, nostalgic and self-aware. More than anything, it was a chance to give that doll the ending she deserved."

United Kingdom

Cam Heyes

Leigh-Anne 'Tight Up Skirt' by Cam Heyes

Leigh-Anne - Tight Up Skirt (Official Video)

Favourite Colour: Black - aka Chris Turner - has directed an intense drama&nbsp;for singer-songwriter Jessica Sweetman, featuring Peaky Blinders actor Emmet J Scanlan.For the rousing indie-pop of Rise Up,&nbsp;Jessica is the woman driving&nbsp;Scanlon's character crazy. She's there, then she disappears like a ghost, then appearing although invisible to Scanlan,&nbsp;observing his increasing trauma. She is his obsession until a climactic steamy encounter on a storm-tossed Sussex beach.The brief for Rise Up came in the form of a script already written by Jessica and actor Scanlan, after they met at an awards ceremony and got talking about making a video together. Turner's&nbsp;job was to make this script a reality, given the various issues of time, availability, budget and - of course - the good old&nbsp;British weather.[imgtoken data:1]"Originally it was meant to end on a beautiful sunset, but even though there were promising glints of sunshine at the start of our first shoot day, the bleak skies soon started to roll in," he explains. "We had to quickly re-think the ending, resulting in a last-minute improvised final shot which eventually became my favourite of the entire film."Shooting the end first meant that we could then alter the earlier part of the story for our second shoot day, creating a moodier, more atmospheric film. Obviously when we were shooting interiors at the end of day two, outside Hastings was enjoying a breathtaking sunset. The type we’d hoped to get the previous evening.[imgtoken data:2]"But ultimately I prefer the more dramatic, windswept final scene we captured. It goes to show that the most important rule of filmmaking is to be 100% prepared and have everything planned out in minute detail, but also be ready to have to trash all of that and make it up as you go along."The result is a cinematic and emotionally resonant, blending&nbsp;windswept coastal imagery with an intimate, symbolic narrative of struggle and renewal. The evocative visuals to mirror the song’s themes of resilience, vulnerability, and ultimately rising above adversity.

Jessica Sweetman 'Rise Up' by Favourite Colour: Black

Jessica-Sweetman--'Rise-Up'-by-Favourite-Colour:-Black-/-Chris-Turner

There is a lot to love about Favourite Colour: Black's new video for Suede. There's the setting - the iconic Bush Hall in London - the band's performance and the frenzied reaction of their faithful fans, which is brilliantly captured with cinematic flair.Then there's the track itself, Dancing With The Europeans. It's an absolute banger - arguably&nbsp;&nbsp;Suede's best song in years. Which is perhaps why the sense of excitement and joy from both&nbsp;band and audience is palpable in this riveting visual.And appropriately it ends with a stage invasion, the band's apparently ageless frontman Brett Anderson arm-in-arm with audience members. Turner / FCB gets it all - and can take pleasure in not just the effectiveness of the video but being instrumental in an authentic moment in the band's long history.[imgtoken data:1]FAVOURITE COLOUR: BLACK:"For Dancing With the Europeans, the brief from the band was to create a gig culminating in a stage invasion. I confess that initially, I tried to talk them out of it. My reservations were sound - it’s very difficult to fake a gig for a music video, let alone hordes of fans invading a stage. It’s near-impossible to live up to the real thing."Suede’s response? OK, we’ll put on an actual gig, just for the video. Next thing I knew, they had booked the iconic Bush Hall, and ’the Insatiable Ones’ had been invited."So that got us the venue, the fans, the atmosphere and the energy. All fantastic. What it took away was a level of control. I knew once the band were on stage, communications between myself and my team would be blasted by loud, live music. We’d be jostled by 300+ fans. We’d be on stage with the drums thundering and the stage bouncing. Attempting to stop the music to ‘direct’ a shot would kill the mood. And so we decided to embrace the chaos.[imgtoken data:2]"Once we’d agreed upon a few key lighting set ups, camera positions, rough framings, and musical cues, all we could do is dive in to a sweaty, ear-ringing, hour-long musical marathon. Suede were electric. The fans were amazing."I’m not sure any edit can truly capture the power of being there for real, but I think this comes pretty close. It was an incredible night, one I’ll always remember. Massive thanks to the band, their manager Didz, and commissioner Faye to trusting me with this. It was an experience."

Hurry Sundown

Rock

Suede 'Dancing With The Europeans' by Favourite Colour: Black

Suede-'Dancing-With-The-Europeans'-by-Favourite-Colour:-Black

Amy Macdonald communicates directly with her fans in a heartwarming video by her regular collaborator Chris Turner - aka Favourite Colour: Black.&nbsp;Filmed across the UK, the visual for Can You Hear Me?&nbsp;is a celebration of the singer-songwriter's fans and the music that connects them,&nbsp;capturing a range of people in their own spaces - bedrooms, living rooms, record shops - listening and losing themselves in the song as they go about their business.Amy's performance is included as the&nbsp;posters and vinyl sleeves that decorate their homes come to life, transforming everyday environments into living tributes to her music. There's a&nbsp;lovely payoff towards the end too.[imgtoken data:1]&nbsp;[imgtoken data:2]

Singer songwriter

Amy Macdonald 'Can You Hear Me?' by Favourite Colour: Black

Amy-Macdonald-'Can-You-Hear-Me?'-by-Favourite-Colour:-Black

Director and AI artist Cam Heyes reimagines the Western as a surreal emotional landscape for South Yorkshire singer-songwriter ADMT.Blending live-action footage with striking AI treatments, the video for Come Along follows ADMT as a lone figure wandering deserted streets, caught between the myth of the gunslinger and the reality of heartbreak.Cinematic standoffs, shifting skies, and dreamlike textures transform familiar western tropes into something entirely new. As the song builds, the AI visuals distort and evolve, blurring the line between memory and imagination. The result is a modern cowboy tale - part music video, part digital fever dream - anchored by ADMT’s raw, soulful performance.

ADMT 'Come Along' by Cam Heyes

Admt-'Come-Along'-by-Cam-Heyes

Legendary outfit Suede return to action with a brooding, shoegaze-infused track and a lean and disruptive performance video directed by Chris Turner, aka Favourite Colour: Black.&nbsp;As the moody opening riffs of Disintegrate&nbsp;dissolve into lush layers of synth, the film&nbsp;explores visual erosion in a similar way: beginning with a clean, high-quality base recording, then gradually degrading it through analogue processes until the image becomes abstract and unrecognisable.&nbsp;&nbsp;The video draws from a rich lineage of visual and aural artworks that meditate on decay and transformation, from William Basinski’s Disintegration Loops to Peter Greenaway’s queasy time-lapse sequences in A Zed &amp; Two Noughts, reinterpreted for a resurgent Suede by Turner and his highly experienced DoP Luke Scully.&nbsp;[imgtoken data:1]Like a piece of video art in the vein of Bill Viola, Bruce Nauman, and Marina Abramović, Disintegrate centres on painterly still-lifes - rotting fruit in slow, unsettling time-lapse - and the gradual breakdown of the moving image itself.Key moments of the performance were re-shot through CRT monitors using minDV and VHS cameras inside a blacked-out tent, introducing analogue texture and unpredictability. Cables were physically manipulated to create flickering, rolling glitches — percussive visual elements that echo the sonic violence of performances like Nine Inch Nails’ March of the Pigs.[imgtoken data:2]This process has been continued&nbsp;in post production. The assembled edit was re-processed and re-recorded in layers, so what begins as a sharply rendered performance ends as something fragmented, distorted, and haunting: a meditation on impermanence, memory, and the beauty of decay."[This was] pretty much my dream brief," comments Chris Turner, aka FC:B,&nbsp;"Fantastic track by a fantastic band. Black and white, lo-fi, performance-based and with visuals that disintegrate as the video plays out. All achieved in-camera, utilising progressively lower quality equipment, shooting and re-shooting from screens as the signal was increasingly interrupted. Worship the glitch!"

Alternative, Indie Rock

Suede 'Disintegrate' by Favourite Colour: Black

Suede - Disintegrate (Official Video)

Favourite Colour: Black - aka Chris Turner - directs a fun and glossy performance promo for new girlgroup Say Now.The video for Trouble sees the group in trouble with the law, locked behind bars - but doing it in style.&nbsp;Boasting glossy performance setups, neon-hued dance choreography - plus a surprise appearance from Girls Aloud icon Nadine Coyle as 'Mother' - it's a high-energy anthem wrapped in a nostalgic, carefree package.[imgtoken data:1]&nbsp;"The brief from the group was to create a story within which the girls could play both ‘good’ and ’troublesome’ versions of themselves, but present it all within a bright, pop world of Y2K inspired visuals," says Chris Turner."After considering several directions, I thought it was best to avoid confronting what it was they’d supposed to have done wrong in the narrative, and suggested instead focussing on the aftermath of the event where the girls are detained and the ‘victim’ is trying to identify them to unconvinced cops. The girls loved the idea and fully committed to playing up to their delinquent - if endearing - alter egos."[imgtoken data:2]

Carrie Sutton

Stitch Editing

Say Now 'Trouble' by Favourite Colour: Black

Say-Now-'Trouble'-by-Favourite-Colour:-Black

Chris Turner - aka&nbsp;Favourite Colour: Black - joins forces with Studio Job to create this witty, visually inventive&nbsp;promo for Mika's sensual lament, Apocalypse Calypso.The exuberant promo balances Mika’s exuberant performance with the remarkable creations of Job Smeets, Netherlands-based&nbsp;atelier&nbsp;of conceptual art, at his studio in Tilburg. They come together in a series of playful vignettes where the singer himself becomes part of the studio’s art.&nbsp;It's a&nbsp;tour de force&nbsp;of creative collaboration - which also features cameos from Job Smeets and wife Sharkey - and elevates the mercurial Mika's&nbsp;music to a new level.[imgtoken data:1]"I was given access to a huge selection of beautifully strange artworks to use however I liked," explains Turner."The solid bronze couch -&nbsp;so heavy it needed a forklift to move it - is a sculptural representation of the late designer Jan des Bouvrie’s iconic Cubic sofa; the imposing sculpted angel wing piano created especially for Mika; a glittering globe, hand-crafted from half a million coloured Swarovski crystals. Pumpkin lamps with hand-blown googly eyes; Giant bronze magnifying glasses."We even got to cover Mika head-to-toe with Job’s trademark papier mâché finish. Combine these with Mika’s inimitable style - check out the suit made from 6000 custom-made mirror tiles - and you have a wonderful set of ingredients to work with."[vidtoken data:0]

France

Mika 'Apocalypse Calypso' by Favourite Colour: Black

MIKA - Apocalypse Calypso (Behind The Scenes)

Mika-'Apocalypse-Calypso'-by-Favourite-Colour:-Black

In the lastet project in a long-time collaboration Chris Turner - aka Favourite Colour: Black - directs a haunting promo for composer/performer Elizabeth Bernholtz - aka Gazelle Twin - assisted by photographer Teri Varhol.&nbsp;The video for Fear Keeps Us Alive harnesses the haunting, omnipresent qualities of CCTV, in a ghostly amalgam of DV and Hi-8 scenes.&nbsp;The cinematography creates a detached, coldly voyeuristic point of view, and shares scenes with&nbsp;upcoming supernatural short film Saint Maria’s Way, directed by Chris and written by Chelsea Kania. The film explores the same themes as Fear Keeps Us Alive, using CCTV to reconstruct the final journey of a missing woman.[imgtoken data:1]“I love working with Elizabeth and Teri," Turner says. "We share so many of the same fascinations and obsessions, and this allows an honest and creative freedom to exist between us."We’re also all lovers of ageing, imperfect formats of photography and video. The visual and thematic elements of the song, the short film, and the album all seemed to fit perfectly together.”[imgtoken data:2]“The fear in Fear Keeps Us Alive&nbsp;is a daily, constant, almost mundane common fear among women," explains Bernholz." I have often connected this lifelong feeling to the sense of a ghostly male presence that lurks in my dreams. Women are (and always have been) constantly haunted by the potential of being harmed."She adds:&nbsp;"Chris, Teri and I share a passion for the weird and the uncanny. The film and images we’ve made together in various forms just wouldn’t have happened without their enthusiasm, generosity and genius skill."Fear Keeps Us Alive&nbsp;is another brilliant collaboration and has produced such a striking outcome that blends so many shared ideas and visions so naturally.”

Alternative

Gazelle Twin 'Fear Keeps Us Alive' by Favourite Colour: Black

Gazelle-Twin-'Fear-Keeps-Us-Alive'-by-Favourite-Colour:-Black

Rita Ora has the time of her life with a surprising supporting&nbsp;cast, in Joseph Kahn's show-stopping video&nbsp;for Rita's take on the Fatboy Slim classic.Although Praising You is a Norman Cook-approved interpolation of Praise You, Joseph Kahn avoids referencing it's legendary video. He very much&nbsp;does his own thing - of course he does&nbsp;- which is to create a colossally entertaining spectacle, and a fabulous vehicle for Rita Ora.&nbsp;&nbsp;We start with Rita performing&nbsp;in the church in the desert, a unconventional preacher, performing to a rapt congregation - who turn out to be a small army of mannequin dolls, with very unmannequin-like qualities. Every time they are in shot, they are all posed into hilariously uncanny positions.&nbsp;One of them is playing the organ... A few of them are raising their hands in amazement... And by the end, when Rita and her gang head out into the desert, a few of them are lying in a pile of disembodied pieces.&nbsp;The visual has the widescreen cinematic aesthetic you expect from Kahn's work, and some standout VFX - No.8 and POD LDN going above and beyond on the project on this project. Overall, it's a triumph - and a great team up. Kahn&nbsp;frames Rita's undeniable star quality in the best possible way. With explosions, obviously...[imgtoken data:1][imgtoken data:2][imgtoken data:3]

United States

Joseph Kahn

Rita Ora ft Fatboy Slim 'Praising You' by Joseph Kahn

Rita-Ora-'Praising-You-(ft.-Fatboy-Slim)'-by-Joseph-Kahn

Jessie Ware takes to the pulpit&nbsp;to preach tolerance and self-expression, in Vicky Lawton's effervescent visual&nbsp;for Free Yourself.When Jessie enters a large room, striding majesterially through a parting crowd in her&nbsp;flowing red gown, there is a spark of anticipation. Then&nbsp;she begins to perform, the super-cool and buttoned-up throng she is addressing start to respond to her words. And soon the group are giving themselves up to Jessie's commands - and being their full unbridled selves.&nbsp;With her strong sense of fashion, Lawton gives the video a twist of sophisticated&nbsp;rock 'n roll decadence, but with the added element of euphoria which feels contemporary and certainly works with the uplifing nature of the track and Ware's remarkable voice.[imgtoken data:1]"As soon as I heard the track, I knew it had to be a celebration - a&nbsp;moment of joy, freedom of expression and individuality," says the director. "It’s all there in the lyrics - 'free yourself'. [I was] Imagining a gathering of like-minded free-loving folk at a stately home, very 70’s rock n'roll - but with a pinch of the occult thrown in."Knowing I’d want to make the tone provocative, I needed to ensure there was the class and sophistication in the visuals to keep it chic. That meant keeping mystery and intrigue at the forefront, using references of decadence, silhouettes to tease and a heavenly glow throughout. That’s where working with Rob Jarvis, DOP was a delightful experience - he has an eye for controlled compositions and a painterly effect when it comes to the use of light."Within this setting, Jessie is a true performer. Her ability to be the authoritarian preacher to the crowd of dancers in the start of the film, and get within the group towards the end and let loose was masterful to watch."

Vicky Lawton

Nomad Editing Company

Coffee & TV

Soul

Jessie Ware 'Free Yourself' by Vicky Lawton

Jessie-Ware-@jessieware-'Free-Yourself'-by-Vicky-Lawton-@vickylawton

Philippa Price and Pilar Zeta collaborate to direct the new Camila Cabello video - a&nbsp;riot of colour and dance from start to finish.Camila drives to the country estate, for a fantasy family gathering - featuring a large cast of characters as colourful as the art direction and design. Almodivar's Women On A Verge Of A Nervous Breakdown meets Drag Race. And this stupendous cast&nbsp;also happens to include members of the Cabello clan...Don't Go Yet is a distinctive and joyful expression of love of Latin culture and dance.&nbsp;And it feels more of a labour of love than the usual super-slick Camila Cabello vehicle. Price and Pizar bring something of an indie edge and zest to this show.&nbsp;&nbsp;&nbsp;

Philippa Price

Pilar Zeta

Camila Cabello 'Don't Go Yet' by Philippa Price & Pilar Zeta 

Camila-Cabello-'-Don't-Go-Yet'-by-Philippa-Price-&-Pilar-Zeta-

In Joseph Kahn's third and final video in his new trilogy for DJ Khaled - featuring&nbsp;Bryson Tiller, Lil Baby and Roddy Ricch - the guys are living the dream. They are on a big boat, with lots&nbsp;of girls in small bikinis, doing suggestive things.Packed full of crossfades and Noughties nostalgia, the video is a full-on homage to old school music videos, and old-school music video values. Kahn does not waver&nbsp;for a second from delivering&nbsp;a mind-boggling&nbsp; fantasy aimed squarely at the Khaled faithful.&nbsp; And this version does not leave much to the imagination...[imgtoken data:1]&nbsp;

Hip Hop

DJ Khaled ft Bryson Tiller, Lil Baby and Roddy Ricch 'Body In Motion' by Joseph Kahn

Dj-Khaled--'Body-In-Motion-'-by-Joseph-Kahn

Joseph Kahn's second video in the trilogy sees DJ Khaled shipwrecked, with featured artists H.E.R and Migos.&nbsp;Isolated on a remote island, Khaled soon transforms the beach landscapes to something far more luxurious, adorned with gold plated sports cars, chandeliers and... dragons.&nbsp;Larger than life and full of standout moments, it's another elevated concept from Kahn and the creative team, with plenty of visual effects trickery as standard.&nbsp;

DJ Khaled ft H.E.R & Migos 'We Go Crazy' by Joseph Kahn 

Dj-Khaled--'We-Go-Crazy-'-by-Joseph-Kahn-

DJ Khaled teams up with iconic director Joseph Kahn for a series of three videos - this is the first, for track Every Chance I Take, featuring&nbsp;Lil Baby and Lil Durk.&nbsp;Surprisingly stripped-back for a Kahn video, the concept is still far from minimalist, as the artists are shown performing&nbsp;against a VFX backdrop of flaming cars, explosions and futuristic cityscapes.Eminating the same offbeat charm and style evident in his extensive videography, this is a great showcase for the artists, anchored by larger than life performances from all three personalities.&nbsp;