Don’t Stop the Music (Videos): Music Videos in the Present
“Say My Name” by Destiny’s Child. “Work It” by Missy Elliot. “Hung Up” by Madonna. “Gimme More” by Britney Spears. These are just a handful of songs whose music videos represent indelible memories for me. Once upon a time, music videos were a massive part of album promotion. They helped an audience become invested. Now, far fewer music videos are released. Instead, there’s an inundation of TikTok clips that indicate whether or not a full music video might hold the imagination.
Fan Mail: Fan Conversations Driving Music
In a recent cover story interview for GQ Magazine, Beyoncé shared why there would not be videos to go along with her latest albums, Renaissance and Cowboy Carter. She said she did not want to “distract from the quality of her voice and music.” The topic came up because of demand from the BeyHive (Beyoncé’s fans), who are crazy in love with her visuals. In the past, Beyoncé has told detailed stories through music videos, a visual album, and a film for her Renaissance tour. But with her latest albums, she was making a shift.
Beyoncé’s decision to stop releasing videos feels like a rebuke to the music industry, which has long pumped out an endless stream of content. But thanks to the deep respect and admiration many have for her, I feel this evolution in Beyoncé’s career is also influencing the music industry at large.
Still, music videos have long been an integral part of the industry. I grew up watching TRL, 106 & Park, and VH1’s Top 20 Countdown. These were countdown shows driven by fan votes, which in turn drove the trends of the music industry at large. I also love a behind the scenes, so watching Access Granted on BET was thrilling for me. I feel that giving viewers a sneak peek and letting the audience in on the work behind the music created a relationship between the artist and audience.
And when the Video Music Awards recently had the 40th anniversary of their show, it was clear I wasn’t the only one who missed that visual storytelling. The show was filled not just with live performances, but with music videos, too. And the show was driven by fan votes, with various fandoms voting on the work of their faves. There was also an abundance of homages, particularly to Britney Spears, a generational legend with a bevy of actually iconic music videos beloved by fans. For at least that one night, it was like the music industry of the past had never changed.
Take on Me: Musicians on Storytelling
Still, there’s something beautiful in the way musicians are now releasing their aret, mostly on their own terms. For one, there is a bevy of fantastic and influential female directors, from Hannah Lux Davis and Sophie Muller (who directed “Mr. Brightside” by The Killers and “Ring the Alarm” by Beyoncé) to Diane Martel and Melina Matsoukas (who directed “Formation” by Beyoncé). Each of these directors’ credits are astounding. And the work that’s been produced by them is incredible.
The video for “papi bones” by FKA twigs, featuring Shygirl, is one of my favorites from the past few years. The song is three and a half minutes long, but the video is is only half that. Its combination of culture, fashion, and female collaboration perfectly encapsulates the power that can be evoked by two musicians.
The music video for “Get Him Back” by Olivia Rodrigo was recorded on an iPhone. It was visually unique, an elevation of storytelling that showcased Olivia as a young musician living in this short-clip consumption era. Dua Lipa is another musician who uses music videos as storytelling, particularly through choreography, responding to incessant reactions to her earlier career performances when she was still learning to have a stronger stage presence. Tate McRae understands the early aughts of pop music as shown through her music videos. Her choreography is also an homage to a time that gave her inspiration for her stylistic sound.
And so, despite the decrease of music video production, they still play a role in presenting female artists in particular as storytellers. In fact, many musicians themselves have taken a turn at directing their own videos.
Billie Eilish directed the music video for her smash hit “BIRDS OF A FEATHER.” Taylor Swift directed her first music video for her song “The Man,” an apt song about how she would be lauded if she were a man. Charli xcx, who gave a masterclass in album promotion with the release of her album brat, released music videos for “Von Dutch” and “360,” the latter chock full of stars, and a conversation on the bizarreness of Internet culture.
Halsey directed a music video for their latest album, The Great Impersonator. The videos of Tinashe, an independent musician (meaning she is not on a major label), exemplify what storytelling can be when you do not have the machine of a label behind you. Megan Thee Stallion might as well also be named Megan Thee Storyteller. Her videos are meaningful and an homage to her Houston roots. She is a masterful marketer. There is also Janelle Monaé, who created an “emotion picture” (a fabulous name for a work) for her remarkably timeless album Dirty Computer. This is obviously not an exhaustive list.
The fact that musicians are seizing control of their work—and how it’s rolled out—brings sacredness to an industry driven by sales and popularity.
In the End: Conclusion
I do recognize the need for art to evolve. But I hope that music videos continue to be a medium for creativity, and continue to provide opportunities for artistic collaboration.
Pop music and videos are synonymous with each other. Music videos keep the stories in the songs alive, allowing them to leave indelible memories.
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