This 1993 award-winner was the first Crowded House video made in New Zealand. Director Kerry Brown and producer Bruce Sheridan wanted to emphasise the surreal, fantasy elements of the song, using distinctly Kiwi imagery. Locations included beaches and dense bush on the West Coast, the plains of Central Otago and the Victorian architecture of Oamaru. Scenes of an Anzac Day ceremony and marching girls also highlight the homeland setting. Brown took inspiration from Salvador Dali paintings for the psychedelic effects that were added in post-production.
Neil Finn has described the lyric to this song as "on the one hand, feeling kind of lost and, on the other hand, sort of urging myself on". The wistful single was Crowded House's breakthrough, hitting number two in the US (and the top spot in Aotearoa, after local radio earlier showed little interest). Australian director Alex Proyas (The Crow) based his video on locations from the band members' childhoods. As Finn walks from room to room, the video also neatly reinforces the band's name. 'Don't Dream It’s Over' remains one of the biggest international hits penned by a Kiwi.
Evoking nostalgia for summer holidays, Crowded House lark around at the beach with partners, kids and Lester the dog. Shot in the Bellarine Peninsula near Melbourne, the music video features bassist Nick Seymour's 1961 T-Bird convertible, plus a brief shot of the police who pulled him over for driving it unregistered, then took it around the carpark. American record executives were unimpressed with the video, which won more favour in the UK. The first fruit of a writing session by Neil and Tim Finn, the song was one of eight Finn brothers compositions on third Crowded House album Woodface.
The shoot required a diverse crowd of coasters (Hibiscus Coast) in order to portray the feeling of unity and multicultural inclusiveness the band were after. "The idea of us playing in a community hall was to give it that inclusive feel, rather than a clichêd scrappy street punk vibe. We wanted our audience to know that we're more than that. At one stage I had to hold up a big sheet with lyrics on it, pointing out the words for the crowd as we went along."Chaz from The Rabble - Feb 09
Shona Laing's long musical career began with '1905', a song dedicated to Henry Fonda. At 17 years old, Shona took the song to second place on talent show New Faces in 1972. Early the following year it rose to number four on the NZ top 10. This short live clip, thought to be filmed at Christchurch Town Hall, captures Shona in extreme close-up, serving to magnify the emotional intensity of the song. Don't be fooled into thinking this is a mimed performance; her voice is absolutely spot-on, and the crowd reacts with rapturous applause.
Kora’s formation in Wellington in 2002 saw them associated with the city’s burgeoning dub-roots scene, but the Whakatāne brothers’ music mix also extends to elements of funk, soul, rock, house and metal. That genre-defying diversity is in evidence on this track from their debut album, as a relaxed reggae intro gives way to stomping electronica-tinged funk rock. This performance video shot in Auckland at AUT’s Vesbar captures the band in their live element, complete with a crowd-pleasing freeze that turns them into a 3D tableau, and strobe-lit climax.
Lydia Cole's understated yet heartfelt breakup song is accompanied by an equally understated music video. Cole performs in a darkened room which is home to a number of mirrors...plus a man and a woman (possibly the woman who got the guy?). 'Dream' was one of five finalists for the 2016 APRA Silver Scroll songwriting award, after making it through from an original list of 20. The song was released ahead of Cole's second album The Lay of the Land; after she launched a crowd-funding campaign in September 2015 to help fund it, her target was met in only five days.
The feverish complexity of Flicker is captured in this video collaboration between Fetus Productions' Jed Town and director Alex Proyas (The Crow, Dark City, promos for INXS, Crowded House, Mike Oldfield). The pair deliver a terrifically haunting clip, skillfully creating an intensely serpentine work full of dark frames and layered, unnerving images. Yikes.
Initially avoided by New Zealand radio stations — who in the same period, showed as little interest in playlisting Crowded House classic 'Don't Dream It's Over' — this became Shona Laing's biggest international single, in a career notable for stylistic change. '(Glad I'm) Not a Kennedy' got to number two in NZ, and number 14 in the US rock charts. Here, the acoustic songbird of 1905 is recast as serious synth-pop singer, in a clip which mixes native beaches, brutalist architecture and poignant archival footage of the ill-fated US president.
The Wellington International Ukulele Orchestra's version of Bonnie Tyler's wrenching 70s hit was the title track of their debut EP. In director Tim Capper's video, they manage to take the song to new levels of pathos with vocalist Andy Morley-Hall's quest for a slice of vegan apple and rhubarb tart. The location is a crowded Deluxe Cafe (where the ensemble emerged from informal Thursday morning sessions). Age Pryor contributes the solo and, amongst the group's massed ranks, there's a masked nod to absent member and Flight of the Conchord Bret McKenzie.