Why Every Music Video Is Suddenly a Commercial (And Why That's Not a Bad Thing)
I knew something had shifted when I watched Skrillex’s latest music video and spent the entire time coveting a limited-edition electric scooter. Not the music, not the visuals — the scooter. It glided through Tokyo streets like a minimalist Batmobile, and before the chorus dropped I’d already searched two websites for a price. Only later did I realise: this wasn’t a coincidence. It was designed. The music was the wrapper.
We’re in the golden age of the hybrid ad. Music videos doubling as product showcase reels. Game trailers disguised as short films. A director friend called it 'mid-form seduction.' Unlike the old-school clunky product placement — think Beats headphones shoved into every frame like awkward party guests — this new era is elegant. Story-led, visually airtight, and barely branded at all. The scooter wasn't a prop. It was a character.
Some purists may scoff, but musicians aren’t mad. Brands are paying for cinematography budgets that would make independent filmmakers weep. And when it works, everybody wins. The artist scores higher production, the brand earns a slice of cool, and audiences get something beautiful instead of a pre-roll ad for gum. The trick is subtlety. You can't fake authenticity at 24 frames per second.
Here's the takeaway for marketers: if you're still trying to bolt your brand onto stories, you're behind. Embed it. Animate it. Let it breathe on screen, without shouting. Can your product hold its own inside a scene without a close-up? That’s the new brief. And bonus points if it steals the show from the DJ. That scooter’s still on my mind.
We’re in the golden age of the hybrid ad. Music videos doubling as product showcase reels. Game trailers disguised as short films. A director friend called it 'mid-form seduction.' Unlike the old-school clunky product placement — think Beats headphones shoved into every frame like awkward party guests — this new era is elegant. Story-led, visually airtight, and barely branded at all. The scooter wasn't a prop. It was a character.
Some purists may scoff, but musicians aren’t mad. Brands are paying for cinematography budgets that would make independent filmmakers weep. And when it works, everybody wins. The artist scores higher production, the brand earns a slice of cool, and audiences get something beautiful instead of a pre-roll ad for gum. The trick is subtlety. You can't fake authenticity at 24 frames per second.
Here's the takeaway for marketers: if you're still trying to bolt your brand onto stories, you're behind. Embed it. Animate it. Let it breathe on screen, without shouting. Can your product hold its own inside a scene without a close-up? That’s the new brief. And bonus points if it steals the show from the DJ. That scooter’s still on my mind.