Peer Review: Sam Davey

Who are three contemporaries that you admire, and why? 

As an agent, you become exposed to so many sides to this industry. Even right at the infancy of an artists campaign, it takes an incredible effort from everyone involved in the process in order to make a great music video or even a good video!  

I guess for me the contemporaries that I admire the most are the ones that understand and respect that process, as ultimately it’s a true team effort right up to the moment the video drops.

I’ve been fortunate to be involved with so many great directors evolution over the years and it’s like choosing your favourite kid, it just feels impossible to highlight just one. But the likes of Emil Nava, Georgia Hudson, Oscar Hudson and Andrew Donoho, all of these directors grafted making numerous videos with a dedication and determination to hone their craft. So guiding them along the way, seeing their work ethic, talent and how they’ve realised their ideas to such a level is a wonderful thing.  

The contemporaries that I admire the most are the ones that understand and respect that process, as ultimately it’s a true team effort right up to the moment the video drops.

Then there are the people you’ve worked alongside directly. Kim Jarrett came in as a young hungry agent at OB with a passion for music videos and ultimately great taste. Now as senior video commissioner at Atlantic Records, you can see how that acknowledgment and understanding of a director’s brain feeds into how she approaches her commissions. The relationship between the video commissioner and agent runs deep.

Massive respect to senior label commissioners such as Mike O’Keefe (Sony Music) and Semera Khan (Polydor) who I’ve worked with since way back in the early days. Always incredibly supportive and have helped guide so many careers within this industry.

Please share 3-4 pieces of work that exemplify great music videos, and, by proxy, top talent representation, and explain why?

I guess this is a personal thing. We’ve never been a snobby agency that just wants to do Radiohead videos (although another would be nice ;) Because we’re reading what could be 10 video treatments a day, the videos that stand out to me are always anchored in a strong concept or unique idea that’s explored to it’s fullest.  They’re the ones I find cut through and become iconic.

Bonobo Cirrus, from Cyriak, has the best use of stock footage in a music video of all time. I could watch it on repeat and still pick up new things.

Paolo Nutini's Iron Sky, from Daniel Wolfe, felt like a bit of a turning point video for me. It was kinda that moment where I felt the attention shifted from just making traditional ‘pop’ videos to something more.  It just grabbed my attention in a new way and its influence on videos director’s in the last five years feels pretty clear to see. I’ve still not been to Kyiv by the way. Someone put me in the budget on the next one.

Bronson Keep Moving by StyleWar. Weirdly another stock footage stunner we got to make with StyleWar in 2020 at the height of the pandemic. Just such a fun video and one that I’m really proud of it.  It demonstrated the resilient nature of the creativity that was still possible even when we weren’t able to shoot.  Who knew I liked stock videos so much.

Ghostpoet's Concrete Pony, from Thomas James, is dark, weird, twisted and a little hark back to the golden days of music videos. 

This was the first time I got to experience the unique mind of Thomas James in person.

What do you like most about the work that you do?

I love the ones that go completely smooth with no hiccups. We all need this in our lives.  

But, I actually still love the ones where you duck and weave when the result turns out great. When you feel like you’ve suggested the right talent for the project, bounced around ideas with the director and EP’s and arrived at something special. I still get that thrill when a treatment gets picked and you feel what it might do for a director’s career. Then to see them make that organic step from music videos into the directing commercials, features or wherever they strive to go is what it’s all about for us at OB. 

I still get that thrill when a treatment gets picked and you feel what it might do for a director’s career.

More and more we’re also finding emerging talent that are not even at production companies yet, so we’ve really ramped up our production service department so that we can make those opportunities happen too. We’re all about finding so solution to allow talent to come through music videos.

What is the process for becoming a music video rep?

I think most people don’t even know the job exists until you’re in it. I certainly didn’t. But, for me, it ticks so many boxes of what I love to. It’s all about how you communicate with people and the series of choices you make along the way to try and get it over the line. 

Ultimately you can learn all the functions of a rep, but you need to have good taste and director’s need to know you’ve got their back and trust that taste.

What is one thing all music video director agents need?

I guess the one thing any agent needs is an opinion or a point of view you can stand by. As I’ve gained more experience, I’ve definitely learnt to trust my gut. 

On top of that a massively thick skin, patience and empathy. 

That’s four things. 

What was the greatest rep/director relationship of all time? Why?

I think you build that relationship over time and I think that loyalty is rewarded in the long term. Understanding what makes that director tick, when they need pushing, when they need leaving alone, building strategy together to ultimately get where they wanna go in their career. 

The third essential cog in that relationship is the EP or head of music within the production company. Can’t stress how important it is to have that, someone who truly understands music videos and what they’re all about. The longer I’ve been doing this, the more we’re able to navigate through all the bullshit and see where the real opportunities are.  

The longer I’ve been doing this, the more we’re able to navigate through all the bullshit.

In recent years I’ve formed great bonds with the likes of Thomas James, Silent Tapes, Joao Retorta and Brock Neal Roberts, to name just a few, and I hope they feel the success of the relationship is reflected.

Did you have a mentor? Who was it? 

Without a doubt, Otis Bell. Always been in awe of what he’s created at OB Management. The talent always comes first, so to work alongside him for nearly 15 years and watch how he’s sculpted the agency to where it is today is incredible. 

Otis not only taught me the skills needed to be a great rep myself, but how to manage and guide others within the company, the right way to conduct yourself and I hope to truly get the best out of the talent we represent.