The document analyzes how the music videos for "Let It Go" by James Bay and "Lights Down Low" by Max featuring Gnash conform to Goodwin's theory of relating the music, lyrics, and visuals in a music video. For both videos: 1) The visuals have a relationship with the music, such as matching the pace of camera movements and lighting to the intensity of the music. 2) The visuals illustrate and emphasize the lyrics, showing scenes that relate directly to the words being sung. 3) Lighting is used throughout to reflect the emotions of the characters and complement the feeling of the music. The document examines both videos in detail using examples to demonstrate

1. TO WHAT EXTENT DO THE MUSIC VIDEOS 'LET IT GO' BY
JAMES BAY AND ‘LIGHTS DOWN LOW' BY MAX (FEAT
GNASH) CONFORM TO GOODWIN'S THEORY?

2. ‘LET IT GO’ BY JAMES BAY - RELATIONSHIP BETWEEN THE MUSIC
AND THE VISUALS
‘Let It Go’ by James Bay was released in 2015 as part of Bay’s debut album, ‘The Calm and the Chaos’.
The music video includes several of the features from Goodwin’s theory.
For example, there is a relationship between the music and the visuals. At the beginning of the video,
the camera gradually revolves around Bay, matching the slow pace of the music. This is repeated
throughout the video, creating a melancholy tone as the camerawork lacks energy, therefore
conveying a sense of despair and abandonment. It also suggests that there is a lack of hope for the
character as the pace of the camerawork doesn’t increase which could imply that his life is never
going to improve now that his lover has moved on. The mise-en-scene also matches the visuals, an
example being the low key lighting that is used, which connotes isolation as Bay is sat alone in the
dark. The lack of colour in the shots works to further emphasise the sense of despair conveyed within
the music.
It could be argued that at times the visuals contradict the music. For example, during the middle 8
section of the song (starting at around 2:46), the audience is shown a burning house while the music
decreases in intensity (the lyrics temporarily stop and when they return fewer instruments are heard).
This change could be used to allow the audience to focus on the power of the visuals. However, the
final chorus remains the same as the ones previously heard in the song, implying that Bay’s character
has learnt nothing and is still trapped by memories of the relationship. This is reinforced by the visuals
as they show Bay back in the same seat, in the same house.

3. The music video includes a
feature of Goodwin’s theory
that suggests that the
demands of record labels
require the artist to create an
image and their own visual
style. This is true of the ‘Let It
Go’ video as Bay is seen
wearing a fedora that has
become part of his signature
look.
Bay’s logo also features a fedora, by consistently being seen wearing one, he is
creating a connection between himself and his albums, making their covers more
recognisable and identifiable. The logo is also effective as it is very artistic while still
being simplistic, echoing the alternative style of Bay’s music.
During his other music videos, such as ‘Hold Back the River’ and ‘Scars’
he is wearing a hat of the same style. This, along with the multiple close
ups used throughout the ‘Let It Go’ video, allow him to create an image
that makes him more recognisable and memorable.
We could adapt this for our own
music video by featuring the logo of
Finn Doherty’s album ‘Process’ in the
background, therefore associating
him, as well as the video, with the
album. We could also create a look
for him that could be adapted or
repeated throughout videos made for
him in the future.
CREATING A VISUAL STYLE

4. RELATIONSHIP BETWEEN THE LYRICS AND THE VISUALS
The visuals also have a relationship with the lyrics, they seem to contradict the lyrics as Bay’s character is unable to
move on despite the lyrics suggesting that he should. For instance, throughout the video the camera revolves
around Bay sat alone in a chair. This constant circling could imply that he is trapped and unable to move on from
his relationship. This is emphasised by the transitions of time used during the video at 1:03, 2:12 and 3:30. These
transitions could suggest that Bay is unable to escape the memories of his relationship and is instead left to
mourn it while his lover has moved on.
The fire seen in the background at 1:47 could imply that Bay is so consumed by grief and heartbreak that he is no
longer aware of how life is passing him by and how destructive his isolation is. It could be argued that the fire
represents life, suggesting that eventually we all have to move on or let things go as life keeps going and is
inescapable. Alternatively, the house could represent their relationship with the fire symbolising how she’s moving
on without him. This could illustrate the lyrics as Bay sings ‘let the ashes fall’, implying that they should leave their
relationship (the house) behind and move on separately. This could be reinforced by the burning house that can
be seen through the rear view mirror as the couple drive away.
It could also be argued that Bay is haunted by his lover as short reverse shot is used, comprising of shots of a
woman and Bay. This could suggest that he still thinks about her and is unable to escape thoughts about their
relationship. This further contradicts the lyrics as he encourages her to ‘let it go’ and ‘just let it be’. By having the
visuals contradict the lyrics, Bay could be implying how difficult it is to move on from romantic relationships and
how much that hardship affects people.

5. CONVENTIONS OF THE GENRE
The music video conforms to conventions of the genre as it features Bay singing. This typical of the
alternative genre as it helps to build a connection between the artist and their music as well as adding
more emotion to the video as the audience can experience the artist’s various feelings as they sing. It
also creates a connection between the audience and the artist as it can appear as though they are
singing directly to the audience.
The video also conforms to the genre as the simple setting would allow it to have been made on a
relatively small budget. This is typical of alternative music videos as they are not mainstream which
limits the amount of money they can earn from a video as it isn’t likely to be played as much. This
more simplistic approach also allows the audience to focus more on the lyrics instead of being
entertained by over the top visuals.

6. RELATIONSHIP BETWEEN THE LYRICS AND THE VIDEO
Bay is shot from a high angle, connoting vulnerability which could suggest that
ending the relationship has left him damaged. This could illustrate the pain heard in
the lyrics. The use of shot reverse shot could be used to emphasise how Bay is
haunted by memories of his lover. Alternatively, it could also be used to create a
sense of opposition between them, reinforcing the fact that they’re separated and
are no longer unified as a couple. This could also work to illustrate the lyrics.

7. ‘LET IT GO’ BY JAMES BAY
In conclusion, ‘Let It Go’ by James Bay features several of Goodwin’s theories.
Primarily, the visuals contradict the lyrics whilst the visuals also have a
relationship with the music. The music video also demonstrates how artist
conform to their genre and build their own image and artistic style as there are
recurring motifs in Bay’s work.

8. ‘LIGHTS DOWN LOW' BY MAX (FEAT GNASH) – RELATIONSHIP
BETWEEN THE LYRICS AND THE VISUALS
‘Lights Down Low’ was released in 2016 as part of Maxwell Schneider’s album ‘Hell’s Kitchen Angel’, it was remade
later on in the same year featuring the addition of the artist ‘Gnash’. Several of the features of Goodwin’s theory
are demonstrated within the music video.
For instance, there is a relationship between the lyrics and the visuals, throughout the video the visuals illustrate
and amplify the lyrics. An example of this is at 1:20, the lyrics ‘I found me an angel’ can be heard while the
intensity of the lighting increases and it softens into a delicate pink colour. This connotes joy and purity,
suggesting that the new woman seen on screen is angelic and the perfect woman for the protagonist. It could
also be symbolising the idiom ‘through rose tinted glasses’, implying that the protagonist has a very positive
outlook on life now that he’s found her.
The lyrics are illustrated again at around 1:08 as the line ‘trying to find an island in the flood’ is heard. The visuals
imply that the protagonist has been seeing several women after separating from his partner, suggesting that he is
searching for someone to replace them because he doesn’t want to be alone. The lyrics ‘I would give you
anything’ are also illustrated by a magnitude of jump cuts showing changing furniture. This could imply that the
protagonist has tried to make his partner happy by giving her a well decorated home to live the rest of their lives
together in.
The lyrics are amplified at 1:38 and then throughout the rest of the video. The line ‘lets make it last forever’ is
heard as the couple begin to pack up their belongings, signifying them starting a new part of their life together.
This continues for the remaining part of the video as the audience watch the couple change regularly their
furniture as they gradually grow older. The video ends with the protagonist dying shortly after his wife has past

9. The lyrics are illustrated at
around 1:08 as the line
‘trying to find an island in
the flood’ is heard. The
visuals imply that the
protagonist has been
seeing several women after
separating from his
partner, suggesting that he
is searching for someone
to replace them because he
doesn’t want to be alone.
By emphasising the lyrics, it
could make the audience
sympathise with the
protagonist and his search
for someone to love more.
Lighting is used throughout the video to reflect the characters’ emotions, for example, as the protagonist dies
the lights gradually turn off, signifying the life within him slowly fading away.
The low key lighting of this shot could demonstrate the sadness that
has taken over his life now that he is alone, however the light in the
top right corner could represent hope and suggest that he will
eventually find someone new.
We could adapt this effective use
of lighting and use it as
inspiration for our own video,
meaning that we could use the
lighting to mimic our
protagonists emotions as their
experiences are shown
throughout the video.
RELATIONSHIP BETWEEN THE LYRICS AND THE VISUALS

10. RELATIONSHIP BETWEEN THE VISUALS AND THE MUSIC
There is also a relationship between the visuals and the music. For example as the song begins a couple can
be seen carrying furniture into an empty room, implying that they are moving in together and starting a
new part of their relationship. The pace of the edit also mimics the music, an example of this is at 0:20, the
edit slows down as shots of the protagonist on his own are shown. This could imply that he is happier when
he is with his significant other as the edit becomes faster again when she returns, giving the video more
energy. This technique is repeated further on in the video, after the protagonist’s wife passes away and the
audience is shown how fragile the protagonist himself has become, the pace of the edit slows down,
reflecting the decreased pace of the song. This could imply how devastated by his wife’s death he is as life
has slowed down for him, suggesting that it has become dull and meaningless without her.
During the middle 8 section of the song the jump cuts become more rapid, signifying a larger passage of
time. This implies that the couple have spent all of that time together as when they return to the screen
they appear to have aged significantly. This amplifies the emotion felt in the music as it suggests that their
love is strong enough to last through different stages of life, much like how the audience have watched
their relationship develop through the stages of the song.
As the song draws to a close, a flashback is used to symbolises the protagonist's life passing before his
eyes, heavily implying that he is passing away. By having him die as the song ends it could suggest that the
song represented his life, or at least a significant part of it and now it has ended.

11. CONVENTIONS OF THE GENRE
The music video also demonstrates conventions of the genre, another aspect of Goodwin’s theory. For example,
videos for alternative songs typically have lower budgets than the videos of mainstream pop songs, because of
this the settings are more simplistic. This is applicable of the ‘Lights Down Low’ video as the video is set in one
room, the only change being the furniture, that signifies the passage of time. This is very effective as it
demonstrates the progression of the protagonist’s life and his various relationships whilst keeping the video
grounded and simplistic so the audience can still focus on the lyrics. However, unlike many other videos that are
part of the alternative genre, the video is entirely constructed of narrative and doesn’t feature any performance.
This is unusual as the performance aspect of videos is typically a way for the artist to build an image. By doing
this, they could be allowing the narrative, that connects the audience to the lyrics, to be focused on instead of
breaking it up and taking them away from that by including other sections. This, therefore, suggests that the
video ignores another aspect of Goodwin’s theory, as by doing this the artist isn’t featured, meaning that the
record labels demand for close ups to build an image isn’t met.

12. ‘LIGHTS DOWN LOW' BY MAX (FEAT GNASH)
In conclusion, the video ‘Lights Down Low’ includes several different features of Goodwin’s
theory while ignoring others. The visuals both illustrate and amplify the lyrics, making it easier
for the audience to connect to them. The visuals also work with the music, emphasising the
different stages of it as the song progresses. As well as this, the video conforms to characteristics
of the alternative genre.