FAULT Magazine in conversation with Kamille – FAULTs and All


Words: Miles Holder

Kamille first caught my attention with the release of the official music video to her single ‘Body’ featuring Avelino. While it might be the first time you’ve heard her name, she has been the songwriter behind some of the biggest pop hits. Kamille penned FAULT featured artists, Little Mix’s ‘Black Magic’ and ‘Shout Out To My Ex’.

‘Body’ is not at all like the songs above; it’s an electronically infused RnB single where Kamille exclaims “You only want me for my body, you don’t give a fuck about my mind”. The video isn’t your standard your “get your shit I’m gone” twirling on the haters, RnB music video either, it’s a beautiful ode to the body’s most attractive of flaws which here at FAULT magazine, we clearly loved. Directed by Crack Stevens and staring Munroe Bergdorf – it’s a masterpiece for the way it beautifully captures the human body, in all its beautiful shapes, colours and sizes.

With her EP dropping last Friday, I sat down with Kamille to find out more about her songwriting to discuss body image and to bask in all her FAULTs.



As a songwriter, you have all these hits under your name, what drove you to spend more time on yourself to get your own voice out there?

I always wanted to be artists, and that was always my goal, but at the time I started, I think my songwriting was stronger than my voice. I tried to make it as a singer at first but at the time it didn’t work, so I stuck to songwriting because I loved it. Through the songs, I’ve written for other people I felt like I was living as an artist through the singers performing them and that was enough. I always mean what I write and that kept me satisfied.


Is there a different process when you write for yourself and other people?

With songs that I sing, I’m not censored because I know exactly what it is I’m feeling; I don’t mind swearing, and you’ll hear it in my EP that I’m raw and unfiltered. I think when I write for other people I have to think about their fan base and their age, but for myself, I can be a lot more critical and take more time to get into my head.


On your EP you’re letting it all out, is it difficult to put so much of your heartache out on your debut?

Not at all! It’s so easy I finally I have a voice. I’ve been doing it through all the songs that I’ve written like ‘Rain’ which was recorded by The Script was about a break up I’ve experienced. I’ve always been talking about it but through other people but now that all the focus is on my own experience it’s so much easier.

Watch the music video to ‘Body’ above


Body is a beautiful video, how did you and Crack Stevens get together on that?

I’ve loved him for years and thought he was incredible, but I never thought he’d be available to work with me because he’s so massive and I’m a new artist. As it turns out, he loved the song and wanted to be an art of it, so we met up in Brixton and got talking; he wanted to showcase the body and all its flaws which is something I wanted to do. I think we both had a lot of insecurities about ourselves through myself and my friends, social media and it’s something we felt strongly about.


Did you feel responsible as an artist to show impressionable fans the truth behind perceived perfection?

I feel strongly about body image and body positivity; I have another song on my EP about it. I’ve had a lot of insecurities and being a woman and seeing visions of beauty on social media every morning it did and does affect me. I’m pleased to tackle that topic straight away, and I want people to feel strongly about their image because there have been times I’ve deleted my Instagram account because I’d seen so many beautiful photos of women and I wasn’t them. I love everyone for who they are, and I feel like the most beautiful flaws are what makes us perfect.


Is it easier for you to now engage with social media now that you understand that the images you’re seeing aren’t real and that nobody is perfect?

It is, but it’s all in moderation. There are times when you can be on Instagram, and you end up with a random person who you don’t know and feeling envious. That’s something I’ve had to be aware of and just cut back on how much I’m taking in.


Are you an artist who knows when a song is done or do you go back and make changes up until the last minutes before release?

I do that a lot! I could write a song now, and it won’t come out for two years, and in that time you can get in your head and think you need to perfect all these little things. My management is good at telling me “no Kamille, it’s fine!” There are some songs that I have changed since I first got in the studio and I love how real they sound.


What are you listening to at the moment?

It’s so hard because I listen to everything, but I’d have to say, Post Malone, I think he’s incredible!


What is your FAULT?

I just ghost people! If I get scared of business or getting in too deep I can just go ghost and I know it’s so bad! It’s something I need to work on!


Kamille’s EP is out now! 


Seal Exclusive FAULT Magazine Issue 27 Menswear Covershoot Preview


“These are people who succeed.”

Seal FAULT Magazine cover

Photography: Dvora | Menswear Editor: Kristine Kilty | Grooming: Evan Huang | Fashion Assistant: Lily Davies | Fashion Assistant: Hannah Sheridan |

Shot on location at Blacks Club, 67 Dean St

Words: Miles Holder


With a career nearing its thirty-year milestone, Seal is one of the few British artists to reach a universally agreed upon “legend” status. Never one to compromise on his artistry, style and unique God-given vocal talents; with four Grammy awards to his name, over thirty million records sold worldwide and releasing a brand new album entitled ‘Standards‘, we sat down with Seal to discuss just what it takes to carve out a career as prestigious as his.


Let’s take it back to the Seal of the early 90’s, for you, what has been your greatest area of growth?

The most significant change would be my understanding of the point of performance from the perspective of the audience. Performance is about communication, and I don’t mean that as simple question and answer, but where you and your audience share dialogue on different levels. I now understand my audience appreciate that they are as much a part of the production and experience as I am. I would like to think I’ve made a much more significant point about communicating and engaging with my listeners when I’m on stage.



Seal FAULT Magazine cover


What’s been your hardest personal FAULT and hurdle to overcome?

Fear. Fear in all of its other forms, its hurtful and deceitful forms. The most significant hurdle for me is very much the same thing. I find myself drifting too far from the moment, and when you’re a performer, that’s not healthy.


Why did you think now was the best time to release a standards album?

I always toyed with the idea of a standards record, and ultimately I love the songs as opposed to them merely being “standards”. They’re written in a time which is all focused on the voice, a time where singers sang, and dancers danced.


You’ve said that Smile is now your favourite song and it seems the people who love the song that’s it’s therapeutic, a reminder to themselves to smile through their underlying pain, is that the same for you?

I can’t listen to ‘Smile’ without tearing up. I like it because it doesn’t matter who you, what age, your culture, gender or outlook on life, the sentiment will relate to you. At some point in your life, we have all gone through an experience where you’ve had to force a smile through a situation. Smiling even though your heart is aching and all you want to do at that point is break down in tears, and you’ve got to smile through it. I find it the happiest and saddest song for me on a personal level. I feel the song, and now in my life, I feel the song resonates more than ever before.

We are living in a very turbulent time and hearing a song like ‘Smile’; it just holds a message that I most want to communicate. It’s chaotic, and it’s turbulent, but for me, the critical thing is to find balance and always remember to smile.


What is your FAULT?

Relationships. They’re hard for me, but I’m learning. And that goes for relationships of all kinds. Even with my children, when I’m trying to get through to one of then, and my method is not working, I’m learning that sometimes the best solution is to try something new as opposed to keeping to the same old routine.




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Liam Gallagher – Exclusive FAULT Magazine Issue 27 Covershoot and Interview Preview


Liam Gallagher

As you were. As you are.


Words: Adina Ilie

Photography: Jack Alexander

Menswear Editor: Kristine Kilty

Grooming: Natalya Chew


FAULT Magazine is proud to present our Issue 27 cover story with non-other than Liam Gallagher. With a career spanning over 25 years and a myriad of stories to tell, we sat down to discuss the ups and downs of his career and get to know Liam Gallagher as he was and as he is. Enjoy.


FAULT: Do you recall the first 24 hours after Noel quit the band? What was going through your mind at that point?

Liam Gallagher: Oh fuck. That very moment I just went– right, there have been certain powers at play. It wasn’t too big an argument; we’ve had worse arguments. What went down was something that was pre-planned.


FAULT: What was the lead up to that point that makes you so sure that it was pre-planned?

Liam Gallagher: Lots of things. A lot of sneaky little meetings. People might say that it’s paranoia. But you can never be too paranoid in life. I kind of knew he was going to map it at some point. It was going to happen at V or it was going to happen at Reading. It only got postponed until Paris. I knew he was going to jump ship at some point. And that’s what made me feel that my paranoia was right. Or maybe I’m clairvoyant; I’ve got 6 senses.


FAULT: Did you feel Noel’s absence while writing this record?

Liam Gallagher: Yeah – because I don’t want to be solo. I don’t want to do it on my own. I’m not a guitar player or a prolific songwriter. I can write a few songs every now and again but I miss being in a band. I miss my brother the way he was back then. I miss singing those great songs that we all made great.


FAULT: Were you disappointed that your former bandmates did not reach out to you in times of crisis? Are you resentful in any way?

Liam Gallagher: My older brother has always been there. I thought I’d at least get a call from Noel, but there was no call. I thought I’d get a call from my other manager, but nothing from them fucking cunts. But then I met Debbie and she’s been there all the way. A lot of my mates are gone; I don’t really have anyone in London and that is fine. The universe is my mate.


Liam Gallagher: I’ve been through a lot of shit, but it was shit that I caused. When you cause shit – you man up and fucking deal with it. Sometimes you have to fucking man up to your shit.




FAULT: Did you ever feel that you were done? That you hit your peak in ’96 in Knebworth and then it was all downhill from there? 

Liam Gallagher: I feel like I’ve maintained it without turning into the traps of the business. I’m still outspoken, I’m still wearing my heart on my sleeve and if people like it that’s fine. If you don’t then you don’t. I’m not a ‘yes man’.


FAULT: Did you ever see yourself hitting the top once more by yourself?

Liam Gallagher: The night Oasis split I felt absolutely disappointed and then I felt exactly the opposite when my album went number 1. In this day and age, rock’n’roll has got cobwebs on it. I never actually saw myself hitting the top once more. But if you truly believe, things will happen. I’ve been good to rock’n’roll and I reckon rock’n’roll will be good to me. It saved me twice.


FAULT: Hollywood is ablaze with accusations of sexual assault against Harvey Weinstein. Have you seen similar occurrences in the music industry? 

Liam Gallagher: : Not really, but you know it’s there. The shady little fuckers at the top. It’s not even with just men and women, it’s men and men too. All these pop bands – you hear about it with Take That but I’ve never witnessed any of it. Nobody would come near us. We were caught up in our own bubble. We weren’t hanging about with the record company. We’d go to the awards show and they’d be there, but we’d just get off and do our own thing. And I certainly didn’t see any weird shit.


FAULT: What changes do you reckon we should make to keep things safe for both men and women alike?

Liam Gallagher: That’s a big tough question. Obviously get rid of all the shit bags. Obviously, if everyone took care of their shit – everything would be cool. We all live together under one sky at the end of the day. Everyone just needs to cool the fuck out.


FAULT: Do you think Liam Gallagher has the power to get people to go back to the roots of rock’n’roll?

Liam Gallagher: I’ve got a lot of fans out there and I always have. My oldest kid is 18 and my friends have kids about the same age – so they’re going to bring them to the shows. That’s a good thing. All you can do is make good music and do good gigs. Do good interviews and try to sell it how it is. Stay honest to what you are and don’t get carried away with all the show business shit. That’s all that I can do. I’m definitely not the savior of music, I’m the savior of me.


Liam Gallagher:I don’t get involved with the industry and the business side of it. I let my manager do that. That’s the problem with music today – it’s got no fucking soul. I get being business minded, but it can overpower. You forget about the fucking music.”


Find out who else will appear in the issue here




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FAULT Issue 27 – The Best of British Issue – is now available to order

We are pleased to announce that FAULT Issue 27 – The Best of British Issue – is available to pre-order NOW.

Official release: 27/11/17

FAULT Issue 27 cover star Liam Gallagher was shot by Jack Alexander and styled by Kristine Kilty. Click here to pre-order your copy of this issue!

FAULT Magazine – the Best of British Issue – proudly presents exclusive shoots and interviews with:

Liam Gallagher (front cover)

Paloma Faith (reversible cover)


Gary Numan

Jake Bugg



Fall Out Boy

Reggie Yates

Rae Morris

Jared Harris

Plus our usual FAULTless selection of the finest Film, Fashion, Music & Photography to inspire the British Isles and beyond as we celebrate FAULT’s 10 year anniversary!

This is your FAULT




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Fault Magazine In Conversation With Reggie Yates Pt.2

Photography Joseph Sinclair | Styling Rachel Gold @ Red Represents | Lauren Alice @MandyCoakleyRepresents using Medik8 and La Roche Posay

Words: Miles Holder


Last time we met up with Reggie Yates, we discussed his experience as a documentary maker, growing up in the spotlight and his career goals – you can see PT.1 of our interview HERE. With the release of his new book ‘Unseen: My Journey by Reggie Yates’, we caught back up with Reggie to discuss the motivations behind the book, the most impactful passages and what else we can expect to see from his career that keeps on giving.  


Hi Reggie, can you talk us through why you chose to release ‘Unseen: My Journey by Reggie Yates’, and why now?

I presented the idea because I realised I had a responsibility thanks to the position my life is in at the moment. My voice is the loudest it’s ever been, and I feel like I’m using it responsibly through my documentaries but not releasing enough content, and the book is another way I could help effect change. It’s not an autobiography, that’s something I’ll do at a much later date, it’s a book about the documentaries and what drove me to make them and where my mind was at that time.


Why did you feel that it was important to share these stories?

I think sharing that was important because, for 19-year-old me, there was no one talking about challenges they had faced in the industry. I didn’t have stories about what it means to be a minority within a minority within a minority, to be the only person of colour on the studio floor with hundreds of other people but it was me holding the microphone. I wasn’t very prepared for the feeling of saying something and having people not get it, or find it aggressive because they lacked cultural understanding. It’s not their fault; there just wasn’t a point of reference for them at the time.


Did you write the book while you were shooting or is it in retrospect taken from memoirs?

I wish I had time to write while I was shooting. I would write down everything I remember, then rewatch the documentary to jog my memory. I spoke to friends, and my director about what they remembered about me when I got home from filming and all of that makes it into the book.


In the chapter ‘Riots and Me’ you speak about the young black London kids who at the time were angry. You go throughout the chapter drawing on your shared experiences, but are you also conscious that the Reggie Gates experience is maybe a million miles detached from the environment those children grew up in?

That’s a good point, and I am aware that for a lot of the people I talk to, sometimes the only common ground we share is the fact that we’re both humans. When I draw on loosely shared experiences, it’s a way of me trying to bridge the gap between the audience and the people I’m interviewing so we can have a greater understanding of what drives the person’s decisions. I’m not desperately trying to find similarities, and it’s just me trying to find out and understand why they are the way they are.


There’s a passage in your book where you talk about a makeup artist applying makeup “two shades too light” for you; it’s a passage which resonated with me because I understood that as a grievance for black models and black people on TV in general which many don’t speak up about. It’s subtlely mentioned, and might fly over the heads of readers who don’t understand the significance but why was it so important for you to include the passage in your book?

It’s actually from the very first paragraph, and it’s funny, that even as a child I recognised something was wrong with that, and you’re the very first person to recognise that passage for what it was, which says a lot about how oblivious many are to the minority experience in the industry. We notice things on a daily basis but have to rise above it quietly because we don’t want to upset people with our “blackness”. I put it in the book because I don’t think people recognise how exhausting it can be to bite your tongue through those situations but people are out there trying to change that, and I believe we will.


Every project we get to see a different side of you, are there any topics that you haven’t had a chance to speak about thoroughly?

I cover a lot of it in the book, but no one has ever unpacked with me what it means to be black and on television in the UK. What it means to have ambitions in the media but be from a working-class background be you white or black. To me “diverse” means to be “the other” and it’s important that when I say “the other” or “diverse” that people understand that I also include many white communities and working-class white people in that. All of these diverse perspectives are entirely lost in the media sometimes, and you don’t see people like us on any grand scale or any drive to change or understand that. We talk about investing in talent but it’s always talent that’s already on its way up, and there’s not enough put into developing new talent.


What’s the next step for Reggie Yates?

I have an exhibition with Amnesty International, and I’m also exhibiting at The Tate, I have a lot of photography going in there, and hopefully one day I’ll release a photobook because I have over 15 years of imagery which I’m proud of.


Do you have a favourite photographer?

I’d have to say Viviane Sassen, I got given her ‘Flamboya’ photobook for Christmas years ago, and found it so inspiring. She finds the middle ground between art and photography which is something that I’m interested in doing and her a lot of her work looks like sculpture and paintings; that’s where I want to be.


A lot of Viviane Sassen’s work is praised for showing the real beauty of being “the other” – in many ways that’s what you’re already doing in your documentary work.

I think that’s what draws me to her work; it’s interesting seeing her go from fascinating art projects to doing an ACNE campaign and photographing it in the same way she’d shoot East-African men on the beach. I’m fascinated by her work because she is an artistic photographer but the way the fashion world is embracing her has helped blur the line between art and fashion, and that’s what I love to see.


Unseen: My Journey by Reggie Yates published by BBC Books, price £18.99 | THE INSIDER S2 is available on BBC3



Don’t Tell Me “Real Music” Is Dead When Jacob Banks Is Selling Out Venues Worldwide


Words & Photography: Miles Holder

You hear it all the time, “oh real music is dead”, “the industry isn’t what it used to be”. You hear it from those joyfully reminiscing on the heydays of Aretha, Gladys and Muddy Waters, you hear it from those inside and outside of the industry, and of course, you hear it from people who just want to feed into the false economy that vocal talent isn’t worth dust anymore. I say this to anyone we ever interview, I say it to anyone who thinks themselves an authority in the music industry, and I say it to you if you believe that young musicians aren’t slaying it night after night with powerhouse vocal performances – believe me, they are.

You might be asking why this article comes across so hyped up, what life-changing performance did I witness that has led to this passionate “come at me bro” review? Well, I’ll tell you! It was Jacob Banks playing to a soldout crowd at London’s Village Underground.

Opening act Joy Crookes, while small in stature captivated the room with her sultry and hypnotising singing voice. While only 18 years of age, the Elephant & Castle native has the stage presence of an artist far beyond her years. Exclaiming “I do this all for fun” as she played arguably her best-known tracks ‘Sinatra’ and ‘Bad Feeling’. It was her final track, ‘Power’, which truly set the crowd ablaze. In her soft speaking voice Joy began by telling the crowd, “I think that all artists should stand for something”, but ‘Power’ isn’t a whaling battle-cry anthem you might expect from the name, nor did it need to be for the message conveyed. Joy’s vocal control and her delicate grip on the melody had the crowd clinging on to every note she sang. Lyrics ‘You got bitches, you got hoes, We the people, and we know, All we want is to be accepted’, delivered so eloquently arrested every listener in the room and lyrics ‘I sing, you can’t take my power’ left us all shouting a resounding “Amen!”

Then, came the main event, Mr Jacob Banks. Starting his set with ‘Worthy‘ from his 2013 record ‘The Monologue’, (a track I presumed he would end on) it was only the beginning of what would be an epic show. We’ve all come to love Jacob for his soulful voice and blues revival on recorded tracks but live; there’s a whole new layer of grit in his voice that I for one hadn’t heard before. On the small stage, Jacob brought the audience to church, becoming the church chorus, conductor, alto, bass, soprano, pews and all. When ‘Unholy War’ rolled around, hands instinctively shot up and waved as Jacob boomed ‘Wade in the water’. Jacob also played a new and unreleased tracks, a fast-paced jazz infused track leading into an impressive guitar solo by Daniel Byrne. The whole performance was sublime, ‘Rainy Days’ merged into ‘Dear Simone’ so seamlessly and when Jacob returned for his encore, ‘Cahinsmoking’ left us all in awe.

While Jacob’s music transcends any generation divide, I do want to point out from what I could see; the crowd was 80%, young people. Young people who happily parted with their money to listen to Jacob’s and Joy’s FAULTless voices. Two days later and the whole performance still echoes in my mind, and I’m sure the same goes for everyone there – “real” vocalists still exist, and not in the dark corners of dilapidated blues houses! They’re selling out large venues in London to New Orleans and if anyone tells you that “real musicians” don’t exist in modern music, tell them that on the contrary, they’re just not looking in the right places.

FAULT Magazine Meets Sorcha Richardson



Dublin born, Brooklyn based singer/songwriter Sorcha Richardson first hit our Radar back in 2015 with the release of her critically acclaimed ‘Petrol Station’ and we’ve been hooked ever since. With the release of track ‘Waking Life’ and about to embark on tour with Imelda May, we caught up with Sorcha to find out more about her career, music, life, future and of course, FAULTs.

You’re about to set off on tour with Imelda May, excited?

I can’t wait!  Rehearsals have been so much fun. I’m excited to travel with the guys in my band. I’ve played in Cork a handful of times but it will be my first time playing the rest of the cities. And the venues are incredible. Some of the nicest in Ireland. I can’t wait to see Imelda’s show too.

Do you find your songs take on new meaning and experiences when you perform them live to a crowd?

Yeah there’s a few in the set that feel extra special to play live.  Waking Life is one.  I wrote it when I was feeling a bit dissatisfied with life and so it feels very triumphant to play it to a room full of people.   There’s another song in the set that isn’t out yet, which I wrote about leaving Dublin for New York and the consequences of that decision on my relationships with the people I left behind here.  That’s a special song to me anyway but it has an added weight when I perform it in Ireland.

You’ve been performing for many years now, what’s been your toughest hurdle to climb in your progression as an artist?

I used to have such bad stage fright and I really didn’t enjoy performing because of it. All throughout school I played the drums in bands and never ever thought of myself as a singer.  So when I moved to New York and decided I wanted to sing these songs I’d been writing, I felt so vulnerable to be at the front of the stage with a microphone rather than at the back behind a drum kit. It took a lot of really bad gigs to get over that fear. And it still comes back every now and then, usually if I haven’t played a show in a while. But now I really love performing, especially the full band shows. They kind of just feel like a party.

Waking Life touches on hope, dreams and the realism of “life isn’t always how we planned it” and lyrically it’s very cinematic “flowers dying in the kitchen” “wrapped your fingers around my bleeding heart like branches overgrow” – would you say the visual aspect of lyricism enters your mind much when you song write?

100%. Writing songs is so visual for me  It’s almost like I’m watching a moving in my head as I write.  Sometimes I’m trying to capture that visual and translate it into words. Other times I’ll know that a lyric feels right because of how vividly I can see it in my head.  Even when I write about very concrete memories, it’s like they take on an altered, distorted shape in my brain.  Like a reimagined version of events that’s almost as vivid as the real thing.

Is it hard to find inspiration when you’ve got such a unique artistry or do you just find it in places outside of simply the realm of music? 

Sometimes I just don’t feel that creative. But there’s lots of things outside of music that inspire me – a lot films, books, photography. I like reading and watching interviews with musicians or writers, even if they’re not talking about music. It’s just fascinating to me to hear different people’s turns of phrases.  There’s times when I’ll be on the train and overhear a snippet of a stranger’s conversation and that finds its way into a song.

You’re Irish born but you’ve lived in NYC for a while now, do you still feel a close connection to Dublin as home, see NYC as home or neither and feel slightly displaced in both?

Dublin will always be home.  Even spending these last few months here has been amazing cause I’ve been able to have a bit of a routine that feels like normal life rather than coming home for a 2 week holiday.   New York feels very much like home too but I don’t feel anchored to New York in the way that I do with Dublin.  It’s always felt like a very transient place to me.  People come and go a lot. It sometimes just feels like everybody’s passing through.

Right after moving to New York I had this feeling like I was in some kind of no-mans land between the two places.  I had a life in Dublin and a life in New York and they felt really disconnected from each other.  And it felt like the longer I was away from home, the bigger the gap between them would come because I was adding more and more weight to my life in New York and less and less to my life in Dublin.  But in the last 3 years or so, a lot of my Irish friends have also left home, (a good few for New York) and are friends with my New York friends and so the two worlds have kind of blended into each other.  It feels less like I’m displaced in both and more like I’m part of a generation of young Irish people who have all done the same thing.

You’ve mentioned that birthdays are a time where you reflect and reanalyse your wants and goals, what will you be hoping to achieve for when your next birthday roles around?

It was my birthday a couple weeks ago.  I want to have a better party next year.  This time around I had my friends come to my house and then I made a rash decision to go to a bar in the city centre that just resulted in everybody getting separated. In hindsight we should have just gone to the bar on my street.   So I definitely want to have a better party next year. I also want to tour more. I’d be down to live pretty nomadically for a year. Maybe also be making something that resembles an album.  I should also learn to parallel park because driving around Dublin and not being able to parallel park is a nightmare.


What is your FAULT?

Not knowing when to leave the party / leaving my phone at the bar

FAULT Magazine Attends The UK Music Video Awards 2017


Last night FAULT Magazine attended the 2017 UK Music Video awards at London’s Roundhouse. Now in its 10th year, the award honours the greatest and most creative music videos and the people that make them – say what you will about 2017, it’s undeniably been a great year for music and music videos.

Hosted by the hilarious Adam Buxton, the night saw big wins for Kendrick Lamar who won the Artist of the Year award and alt-j’s 3WW won Best Alternative Video and Best Cinematography.

The night saw US director Ryan Staake win big, for his work on Young Thug’s Wyclef Jean – picking up a Video of the Year, Best Editing and Best International Urban Video award. By now, you’ll no doubt have seen the music video which nearly never was – but thanks to his innovation and problem-solving skills Ryan managed to pull it off!

In the Pop categories, Dua Lipa’s New Rules triumphed among the UK videos, while Haim’s Want You Back took the International award with US director Jake Shreier collecting the trophy. Other international directors who took awards include Barcelona’s CANADA for Beck’s Up All Night, and France’s The Blaze, who directed their own video for Territory. British directing team The Sacred Egg won the UK Rock/Indie Video trophy for their work on Royal Blood’s Lights Out and Hector Dockrill took the UK Urban Video award for Ray Blk’s Patience.

The UK Music Video Awards editorial director, David Knight, says, “More than ever, the music video is the place where musicians collaborate with filmmakers to create astonishing works of creativity. The winners and nominees at the UKMVAs have demonstrated that with their exceptional work in the past year.

All in all, we had a great night at the Roundhouse celebrating alongside such a talented room of individuals! Cheers to the UKMVAs and another 10 years of success celebrating the wonderfully diverse talents out there!

Find a full list of winners below!

Here is the full list of winners:

Best Pop Video – UK in association with Rushes
Dua Lipa – New Rules
Director: Henry Scholfield
Producer: Campbell Beaton
Prod Co: Caviar
Commissioners: Alex Burford / Kirdis Postelle for Warner Bros

Best Dance Video – UK
Bonobo – No Reason
Director: Oscar Hudson
Producer: Matt Posner
Prod Co: Pulse Films
Commissioner: John Moule for Ninja Tune

Best Rock/Indie Video – UK
Royal Blood – Lights Out
Directors: The Sacred Egg
Producers: Natalie Arnett / Tom Birmingham
Prod Co: Riff Raff Films
Commissioner: Jennifer Ivory for Warner Music UK

Best Alternative Video – UK
alt-j – 3WW
Director: Young Replicant
Producer: Sarah Park
Prod Co: Pulse Films
Commissioner: Andrew Law for Infectious Music / BMG

Best Urban Video – UK in association with PPL
Ray BLK – Patience
Director: Hector Dockrill
Producer: Stephanie PaeplowProd Co: Pulse Films
Commissioner: Hal Hudson

Best Pop Video – International
HAIM – Want You Back
Director: Jake Schreier
Producers: Alex Fisch / Jackie Kelman Bisbee
Prod Co: Park Pictures
Commissioners: Semera Khan / Saul Levitz for Polydor Records / Columbia Records

Best Dance Video – International
The Blaze – Territory
Directors: Jonathan Alric & Guillaume Alric (The Blaze)
Producer: Roman Pichon HerreraProd Co: Iconoclast
Commissioner: Manu Barron for Animal63

Best Rock/Indie Video – International
Father John Misty – Things It Would Have Been Helpful To Know Before The Revolution
Director: Chris Hopewell
Producer: Rosie Lea BrindProd Co: Jacknife FilmsCommissioner: Sub Pop / Bella Union

Best Alternative Video – International
Beck – Up All Night
Directors: CANADA
Producer: Laura SerraProd Co: Canada
Commissioner: Kevin Kloecker for Capitol Records

Best Urban Video – International
Young Thug – Wyclef Jean
Director: Ryan Staake
Head of Production: Kevin Staake
Exec Producers: Ryen Bartlett / Nathan Scherrer
Producer: Jeff KopchiaProd Co: Pomp&Clout / FreenjoyCommissioner: Emmanuelle Cuny Diop For Atlantic Records / 300 Entertainment

Best Pop Video – Newcomer in association with giffgaff
Charlotte Cardin – Like It Doesn’t Hurt
Director: Kristof Brandl
Producers: Vlad Cojocaru / Jakob Preischl
Prod Co: Colossale / Bwgtbld
Commissioners: Alex Auray / Jason Brando for Cult Nation

Best Dance Video – Newcomer in association with giffgaff
Obongjayar – Endless
Director: Matilda Finn
Producer: Nick HayesProd Co: Friend
Commissioner: Theo Lalic

Best Rock/Indie Video – Newcomer in association with giffgaff
Lemon Twigs – I Want To Prove To You
Director: Nick Roney
Producer: Andreas AttaiProd Co: Agile Films
Commissioner: Gabe Spierer for 4AD

Best Alternative Video – Newcomer in association with giffgaff
Bonnie Banane – L’Appétit
Director: William Laboury
Producer: Theo GallProd Co: Division
Commissioner Jules De Chateleux for DIVISION

Best Urban Video – Newcomer in association with giffgaff
Oscar Worldpeace – Tate Modern, Wary, Pearls
Director: Taz Tron Delix
Producer: Kiran MandlaProd Co: COMPULSORY

Vevo MUST SEE Award
Marika Hackman – My Lover Cindy
Director: Sam Bailey
Producers: Lucy Bradley / Katie LambertProd Co: Agile Films
Commissioner: Connie Meade for AMF Records

Best Interactive Video in association with The Mill
Naïve New Beaters – Words Hurt
Director: Romain Chassaing
Producers: Nicolas Tiry / Edouard Chassaing
Prod Co: Solab
Record Co: Capitol Music France

Best Production Design in a Video
Bonobo – No Reason
Production designer: Luke Moran Morris
Director: Oscar Hudson
Producer: Matt Posner
Prod Co: Pulse Films
Record Co: Ninja Tune

Best Styling in a Video in association with i-D
The Blaze – Territory
Stylist: Juliette Alleaume
Directors: Jonathan Alric / Guillaume Alric (The Blaze)
Producer: Roman Pichon Herrera
Prod Co: Iconoclast
Record Co: Animal63

Best Choreography in a Video
Kanye West – Fade
Choreographers: Guapo, Jae Blaze, Derek ‘Bentley’ Watkins
Director: Eli Linnetz
Producer: Kathleen Heffernan
Prod Co: Iconoclast
Record Co: Good Music

Best Cinematography in a Video in association with Panalux
alt-j – 3WW
DOP: Dustin Lane
Director: Young Replicant
Producer: Sarah Park
Prod Co: Pulse Films
Record Co: Infectious Music / BMG

Best Colour Grading in a Video in association with CHEAT
Mick Jagger – Gotta Get A Grip
Colourist: Mark Gethin at MPC LA
Director: Saam Farahmand
Producer: Amalia Rosen-Rawlings
Prod Co: Black Sheep Studios
Record Co: Polydor Records

Best Editing in a Video in association with Cut+Run
Young Thug – Wyclef Jean
Editors: Ryan Staake & Eric Degliomini
Exec Producers: Ryen Bartlett / Nathan Scherrer
Director: Ryan Staake
Producer: Jeff Kopchia
Prod Co: Pomp&Clout / Freenjoy
Record Co: Atlantic Records / 300 Entertainment

Best Visual Effects in a Video
Leningrad – Kolshik
Director: Ilya Naishuller
Producers: Dimitry Mouraviev / Ekaterina Kononenko
Prod Co: Fancy Shot / Versus Pictures / Great Guns

Best Animation in a Video
Katie Melua – Perfect World
Animators: Karni & Saul
Directors: Karni & Saul
Prod Co: Sulky Bunny
Record Co: Dramatico

Best Live Session
Mura Masa ft Damon Albarn – Blu (Live)
Director: Colin Solal Cardo
Producer: Christophe “Chryde” Abric
Prod Co: La Blogothèque
Commissioners: Emily Tedrake / Semera Khan for Polydor Records

Best Live Concert
Rammstein – Paris
Director: Jonas Akerlund
Producer: Svana Gisla
Prod Co: Black Dog Films
Commissioner: Rammstein

Best Commissioner
Semera Khan

Best Producer in association with WPA
Nathan Scherrer

Best Production Company
Pulse Films

Best New Director in association with Time Based Arts
Matilda Finn

Best Director in association with Locomotion
Oscar Hudson

Best Artist
Kendrick Lamar

The Icon Award
Jake Nava

Video of the Year in association with Promo News
Young Thug – Wyclef Jean
Director: Ryan Staake
Head of Production: Kevin Staake
Exec Producers: Ryen Bartlett / Nathan Scherrer
Producer: Jeff KopchiaProd Co: Pomp&Clout / FreenjoyCommissioner: Emmanuelle Cuny Diop For Atlantic Records / 300 Entertainment