The Verve: Bittersweet Symphony - Promotional Video Deconstruction

The Verve

The Verve were an English rock band formed in Wigan in 1990. The band comprised lead vocalist, Richard Ashcroft, guitarist Nick McCabe, bass guitarist Simon Jones, and drummer Peter Salisbury. At a later date, the guitarist and keyboard player Simone Tong joined the band. 

The band's commercial breakthrough was the 1997 album Urban Hymns, one of the best-selling albums in UK Chart history. The album features the hit singles 'Bitter Sweet Symphony', 'The Drugs Don't Work', and 'Lucky Man'. In 1998, the band won two Brit Awards - winning Best British Group, and  in February 1999, 'Bitter Sweet Symphony' was nominated for the Grammy Award for Best Rock Song.

Soon after their commercial peak, the Verve broke up in April 1999, citing internal conflicts. They reformed in 2007; however, they broke up again in 2009.

Hut Records

VC Recordings trading as Hut Records was a British record label brand which was started in 1990 as a wholly owned subsidiary of Virgin Records. Despite being wholly owned by a major label, it was classed as an independent label for the purposes of the UK Indie Chart due to the independent distribution, which was used by Virgin as a means of gaining exposure for new acts.

The label was managed by former Virgin retail assistant and Rough Trade label manager Dave Boyd, and it was originally set up as means of obtaining independent distribution for Moose and Revolver. Boyd's approach was to sign "quality bands and artists with attitude".


Hut Records was discontinued by Virgin Records in mid-2004 due to an overhaul of the group, 20% of the artists on Hut were dropped whilst the rest were moved over to other labels within the EMI Group.

Acts who were at one time signed by Hut Records include The Verve, Revolver, The Smashing Pumpkins, David Gray, and Placebo.

'Bittersweet Symphony'

'Bittersweet Symphony'

'Cause it's a bittersweet symphony, this life

Try to make ends meet

You're a slave to money then you die

I'll take you down the only road I've ever been down

You know the one that takes you to the places

Where all the veins meet yeah,

No change, I can't change

I can't change, I can't change

But I'm here in my mold

I am here in my mold

But I'm a million different people

From one day to the next

I can't change my mold

No, no, no, no, no

Well I never pray

But tonight I'm on my knees yeah

I need to hear some sounds that recognize the pain in me, yeah

I let the melody shine, let it cleanse my mind, I feel free now

But the airways are clean and there's nobody singing to me now

No change, I can't change

I can't change, I can't change

But I'm here in my mold

I am here in my mold

And I'm a million different people

From one day to the next

I can't change my mold

No, no, no, no, no

I can't change

I can't change

'Cause it's a bittersweet symphony, this life

Try to make ends meet

Try to find some money then you die

I'll take you down the only road I've ever been down

You know the one that takes you to the places

Where all the things meet yeah

You know I can't change, I can't change

I can't change, I can't change

But I'm here in my mold

I am here in my mold


Synopsis

The video is a 'concept' video that follows lead singer, Richard Ashcroft, walking down a busy street in London. Ashcroft is largely walking against the flow of pedestrian traffic, however, he stubbornly refuses to alter his path to avoid collisions; this results in him barging into many people, jumping on top of a car bonnet, and even knocking a lady over; he is subsequently berated by several characters. The video ends with Ashcroft's band members joining up with him. As the band continue to walk down the street and away from the camera, the video fades to black.

Timeline

• 00:00 - 00:26: The video begins with a slightly high-angle shot of the floor. Richard Ashcroft walks into the frame; at first only his feet are visible. Tracking Ashcroft, the camera pans to the right, tilts upwards into a mid shot of Ashcroft, and then pulls out into a long shot. Standing beside roadworks, Ashcroft pauses as if readying himself.

• 00:26 - 00:35: In sync with an upbeat change in the music, Ashcroft begins to walk towards the camera; a reverse tracking shot is used, maintaining a long shot of Ashcroft. At different points, various people come between Ashcroft and the camera, including a lady who is skating.

• 00:35 - 00:44: Ashcroft begins to sing the lyrics of the song; he does not break the fourth wall by singing into the camera. His behaviour is quite naturalistic as opposed to being exaggerated. There is lots of activity in the background as extras walk in and out of frame. As Ashcroft moves closer and closer to the camera, he goes from being filmed a in a long shot to being filmed in a mid shot.

• 00:44 - 00:47: The camera transitions to a POV shot from the perspective of Ashcroft. Two women are immediately in front of him; there is a gap between them, however, it is not big enough for a person to move through.

• 00:47 - 00:55: The camera transitions back to a reverse tracking shot of Ashcroft; this time time the camera maintains a mid shot of Ashcroft. He is shown barging between the two women. At this point it becomes clear that he is stubbornly holding the line that he is walking and that he refuses to move out of anyone's way.

• 00:55 - 00:56: The camera transitions to a tracking shot of Ashcroft (mid shot)as he walks away from the camera.

• 00:57 - 01:01: The camera transitions back to a reverse tracking shot of Ashcroft (mid shot). A woman enters the left of the frame.

• 01:01 - 01:03: The camera transitions to a POV shot from Ashcroft's perspective; the camera pushes into the woman.

• 01:03: - 01:18: The camera transitions back to a reverse tracking shot of Ashcroft (mid shot). Ashcroft unflinchingly barges into the woman, knocking her over, and walks off without acknowledging her. Several extras respond to his rude behaviour. Ashcroft continues to walk forward, singing the lyrics of the song; the camera continues to reverse track him.

• 01:18 - 01:22: The camera transitions to an over-the-shoulder shot, tracking Ashcroft walking away from the camera. Ashcroft barges past a man sporting a Mohican hairstyle and several piercings. 

• 01:22 - 01:25: The camera transitions to a close-up shot of Ashcroft's face, showing him singing the lyrics. 

• 01:25 - 01:26: The camera transitions to a high-angle close-up shot of Ashcroft's feet, showing him walking.

• 01:26 - 01:27: The camera transitions back to a close-up shot of Ashcroft's face, showing him singing the lyrics.

• 01:27 - 01:30: The camera transitions back to a high-angle close-up shot of Ashcroft's feet, showing him walking.

• 01:30 - 01:32: The camera transitions back to a close-up shot of Ashcroft's face, showing him singing the lyrics.

• 01:32 - 01:39: The camera transitions to a reverse tracking shot of Ashcroft (mid shot). The camera appears to be handheld, as it is shaky. Ashcroft knocks into (and narrowly misses a fourth) extra; he is knocked backwards and slightly off balance but continues to walk forward.

• 01:39 - 01:45: The camera transitions back to a close-up shot of Ashcroft's face as he continues to sing the lyrics.

• 01:45 - 01:48: The camera transitions to a tracking shot of Ashcroft's feet as he walks away from the camera (close-up shot). 

• 01:48 - 01:49: The camera transitions to a tracking shot of Ashcroft (mid shot) as he walks away from the camera.

• 01:49 - 01:53: The camera transitions back to a close-up shot of Ashcroft's face.

• 01:53 - 01:56: The camera transitions to a tracking shot of Ashcroft (mid shot)as he walks away from the camera; he jumps up on to a the bonnet of a car that is in his way.

• 01:56 - 02:04: The camera transitions to a reverse tracking shot of Ashcroft (mid shot) jumping back off the car and walking towards the camera. In the background, an extra, playing the part of the woman who owns the car, walks up to Ashcroft; she is visibly angry.

• 02:04 - 2:07: The camera transitions to a POV shot. In the background, a slew of oncoming extras, playing the part of pedestrians, are walking towards the camera; the extras go out of focus as the owner of the car comes into focus - a close-up of her face shows her angrily accosting and berating Ashcroft.

• 02:07 - 02:10: The camera transitions to a reverse tracking shot of Ashcroft walking towards the camera (mid shot). The woman continues to berate Ashcroft, however, he does not respond; he continues to sing the lyrics as though he is completely oblivious to her.

• 02:10 - 02:14: The camera transitions back to a close-up shot of Ashcroft's face as he sings the lyrics to the song.

• 02:14 - 02:16: The camera transitions to a reverse tracking shot of Ashcroft's feet as he walks towards the camera (close-up shot).

• 02:16 - 02:19: The camera transitions back to a reverse tracking shot of Ashcroft walking towards the camera (mid shot). The woman continues to berate him.

• 02:19 - 02:22: The camera transitions back to a close-up shot of Ashcroft's face as he continues to sing the lyrics.

• 02:22 - 02:27: The camera transitions back to a reverse tracking shot of Ashcroft walking towards the camera (mid shot). The extra finally gives up berating him; she throws her hands up, showing her frustration, and allows Ashcroft to walk away.

• 02:27 - 02:30: The camera transitions to a tracking shot of Ashcroft (mid shot)as he walks away from the camera.

• 02:30 - 02:36: The camera transitions back to a close-up shot of Ashcroft's face as he continues to sing the lyrics.

• 02:36 - 02:40: The camera transitions to a POV shot. A young, female extra walks towards the camera; she looks disparagingly into the camera (which represents the vantage point of Ashcroft) and continues to walk on until she is out of frame.

• 02:40 - 02:46: The camera transitions back to a reverse tracking shot of Ashcroft walking towards the camera (mid shot). The young, female extra can be seen walking into the background.

• 02:46 - 02:49: The camera transitions to a close-up shot of Ashcroft's face; he continues to sing the lyrics.

• 02:49 - 02:51: The camera transitions to a tracking shot of Ashcroft (mid shot)as he walks away from the camera. A Jaguar with tinted windows slowly drives in front of Ashcroft; he begins to peer into the windows.

• 02:51 - 02:54: The camera transitions to an over-the-shoulder shot of the tinted windows; the reflection in the windows serves as a close-up of Ashcroft's peering face.

• 02:54 - 03:02: The camera transitions to a a reverse tracking shot of Ashcroft (long shot)as he walks towards the camera singing the lyrics. The Jaguar is seen fully passing by Ashcroft and driving out of frame.

• 03:02 - 03:07: The camera transitions to a close-up shot of Ashcroft's face as he continues to sing the lyrics.

• 03:07 - 03:10: The camera transitions to a tracking shot of Ashcroft (mid shot)as he walks away from the camera; in the background, two intimidating-looking men give Ashcroft a menacing look and close the space between them.

• 03:10 - 03:15: The camera transitions to a reverse tracking shot of Ashcroft (mid shot)as he walks towards the camera singing the lyrics. Ashcroft barges between the two men; the men smirk as Ashcroft walks on, continuing to sing the lyrics.

• 03:15 - 03:18: The camera transitions to a tracking shot of Ashcroft (mid shot)as he walks away from the camera.

• 03:18 - 03:23: The camera transitions to a close-up shot of Ashcroft's face; he continues to sing the lyrics.

• 03:23 - 03:25: The camera transitions to a tracking shot of Ashcroft (mid shot)as he walks away from the camera. He walks towards an extra who quickly moves out of his way to avoid a collision. 

• 03:25 - 03:30: The camera transitions to a reverse tracking shot of Ashcroft (mid shot)as he walks towards the camera singing the lyrics.

• 03:30 - 03:31: The camera transitions to a POV shot. A scruffy, middle-aged man points and gesticulates towards the camera (which represents Ashcroft's vantage point) as though berating him.

• 03:31 - 03:32: The camera transitions to a reverse tracking shot of Ashcroft (mid shot)as he walks past the scruffy man.

• 03:32 - 03:41: The camera transitions to a close up shot of Ashcroft's face as he sings the lyrics.

• 03:41 - 03:43: The camera transitions to a tracking shot of Ashcroft (mid shot)as he walks away from the camera.

• 03:43 - 03:46: The camera transitions to a reverse tracking shot of Ashcroft (mid shot)as he walks past the scruffy man.

• 03:46 - 03:50: The camera transitions to a tracking shot of Ashcroft (mid shot)as he walks away from the camera.

• 03:50 - 03:54: The camera transitions to a close-up shot of Ashcroft's face as he sings the lyrics.

• 03:54 - 03:57: The camera transitions to a tracking shot of Ashcroft (mid shot)as he walks away from the camera.

• 03:57 - 04:02: The camera transitions to a close-up shot of Ashcroft's face as he sings the lyrics.

• 04:02 - 04:05: The camera transitions to a reverse tracking shot of Ashcroft's feet (close-up shot) as he walks towards the camera.

• 04:05 - 04:13: The camera transitions to a reverse tracking shot of Ashcroft (low-angle long shot) as he walks towards the camera singing the lyrics. The rest of the band enter the frame from the left-hand side, behind Ashcroft.

• 04:13 - 04:18: The camera transitions to a tracking shot of the band (long shot)as they walk away from the camera. The band are almost walk in a line, however, Ashcroft - who is positioned in the centre of the line is slightly ahead of the rest of them.

• 04:18 - 04:23: The camera transitions to a reverse tracking shot of the band (low-angle long shot)as they walk towards the camera; the band catch-up with the camera which results in a long-shot of Ashcroft.

• 04:23 - 04:33: The camera transitions to a stationary low-angle long shot of the band as they walk further and further away from the camera.

• 04:33 - 04:35: The camera fades to black - from the outskirts of the frame to the centre; the fade is in sync with the fade-out of the song.

Anaylsis

Total time = 04:35

Total shots = 58

Close-up shot = 01:19 (29%)

Mid shot = 01:49 (40%)

Long shot = 01:07 (24%)

POV shot = 00.13 (5%)

Over-the-shoulder shot = 00.07 (2%)

Lyrics Analysis

As Andrew Goodwin notes in his book Dancing in the Distraction Factory (1992, Routledge), in music videos, there is often a relationship between the lyrics and the visuals.

The title of the song is very grandiose: a 'symphony' evokes associations of orchestras and high society; these associations are further reinforced through the use of the iconic orchestral riff that is repeated throughout the song. It is somewhat ironic then that the promotional video is set amidst a 'grey' urban setting; an irony which is alluded to in the lyrics "the airways are clean".

The idea of the narrative seems to be based on the line: "I'll take you down the only road I've ever been down", as the video tracks lead singer, Richard Ashcroft, literally walking down a busy road. The drabness of the road is in keeping with the tone of the song and the lyrics: "Try to make ends meet / You're a slave to money then you die" and "I need to hear some sounds that recognize the pain in me, yeah". Furthermore, the way in which Ashcroft stubbornly walks against a torrent of oncoming pedestrians - like a fish swimming against the flow of a stream - serves to illustrate the lyrics: "No change, I can't change / I can't change, I can't change / But I'm here in my mold", which are repeated throughout the song.

Mise en scène

Setting

Hoxton and Falkirk Street, London N1

Despite a seeming lack of any overt geographic markers, it is quite evident that the video is set in London (it was indeed filmed in Hoxton and Falkirk Street, London N1). The opening shots introduce us to a heavily congested urban setting, replete with roadworks and a traffic jam, the effect of which is offset by the use of dour colours, low-key lighting, and dust wafting into the sky. 

As Ashcroft begins to walk, behind him we can see a 'Golden Fried Chicken' shop and a newsagents with a 'National Lottery' sign protruding from it. These signs help to signify that this is a 'deprived' part of the city: fried chicken shops are known for selling cheap, unhealthy food, whilst the National Lottery, a competition which is played more by people from lower socio-economic backgrounds, offers an opportunity to escape to a richer life.

All in all, the setting is far from glamorous; it is the antithesis of a glitzy major label video. It is very fitting for a number of reasons. Firstly, the setting helps to communicate that The Verve are a working-class band; they are 'everymen' who sing songs about common people. Secondly, it helps to reflect that the song is a 'bittersweet' symphony: a tale of both misery and pleasure. Finally, the setting ties in nicely with the title of the album the song was taken from: Urban Hymns; i.e. songs of urban life.

Costume and Makeup
In the video, Ashcroft portrays a somewhat jaded, stubborn and rebellious figure, which is reflected in his attire. One of the first features of note is his faux-leather jacket. Since leather jackets have long since been associated with rebels, having Ashcroft wear a leather jacket helps to signify that he is a counterculture figure. Furthermore, the fact that it is a cheaper faux-leather jacket, as opposed to a more expensive genuine leather jacket, helps to establish Ashcroft as a working-class figure: a common man.

Ashcroft's appearance is untidy, suggesting a non-conformist, carefree attitude. His hair is relatively long and untamed, again alluding to a sense of rebelliousness. Furthermore, Ashcroft's complexion is very pale - possibly with the aid of make-up - making him appear almost sickly, perhaps suggesting that he is not taking proper care of himself and is living a reckless lifestyle.

It is notable that Ashcroft is exclusively wearing dark colours; in conjunction with the low-key lighting and cold colour-grading, this serves to highlight the depressing tone of the song.

Key Shots, Camera Movements, and Edits

00.00 - 00.44

The opening shot is arguably the most effective shot in the music video; the director has opted to use a long take to introduce the video (the first shot is 44 seconds in total). The video begins with a fade in into a high-angle shot of the ground; shortly after, a pair of feet enter the frame. The director's decision to initially just show the character's feet serves to obscure the character and creates a sense anticipation; the subsequent decision to momentarily delay revealing the character's identity further heightens this anticipation. Finally, the camera tilts up and reveals the identity of the character: Richard Ashcroft, the lead singer of The Verve.

From a marketing perspective, for the purpose of brand recognition, record labels usually make the lead singer the focal point of the band - particularly if they are charismatic or attractive. The use of the pan shot, followed by the tilt and the pullout, help to create the impression that Ashcroft is important; he is worth paying attention to; he is the star of the piece. During this time, the camera lingers on Ashcroft, inviting the viewer to really take notice of him; this affords the viewer an opportunity to take note of his rebellious appearance. The transition to a long shot enables the viewer to take in the urban setting; in a sense, it serves as an establishing shot.

Finally, Ashcroft's pause makes it appear as though he is readying himself for something; again, this serves to create a sense of enigma and anticipation.

01:34 -01:38

This shot serves to further establish Ashcroft as a rebel; he knocks into three people in quick succession but doggedly continues to move forward. The visual calls to mind a person running a gauntlet, or a fish swimming against the flow of a stream. The way in which Ashcroft runs counter to a torrent of oncoming people suggests that he goes against the grain; he is a counter-culture figure; he is a rebel.

01:54 - 2:08

This shot again highlights Ashcroft's rebelliousness. By jumping on to the bonnet of the woman's car, Ashcroft defies a social norm; he is shown to be something of rule breaker; a person who defies social convention; a person who unashamedly carves out his own path. Furthermore, there is a posturing swagger in the way that Ashcroft jumps off of the car and continues to walk down the road. The way in which he does not engage with the woman suggests that he does not care what anybody thinks.

From a technical standpoint, the transition from the long shot, in which you can see the woman bearing down on Ashcroft to accost him, to the POV shot from Ashcroft's perspective works nicely. The way in which the focus of the POV shot changes from the background to the foreground mimics the way human vision works and helps to create a sense of verisimilitude. 

02:35 - 02:40

This is one of several shots which establish Ashcroft as something of an outsider. The scowling look of the woman signifies disapproval; the fact that this is a POV shot means that we, the audience, take on Ashcroft's perspective; the shot works to convey how Ashcroft feels looked down upon by some sections of society.

02:49 - 02:54

Jaguars tend to be expensive cars; historically, they have been seen as status symbols. The tinted windows of the car form a barrier between Ashcroft and whoever is inside; they could be viewed as symbolising how he feels excluded from the world of the rich. However, the way in which Ashcroft pugnaciously stares into the car suggests that he refuses to defer to the rich regardless of their supposed higher social standing.

03:07 - 03:12

This shot once again serves to reinforce the idea that Ashcroft is a rebel; however, it also makes him appear fearless. The size of the two men, in conjunction with their shaved heads and aggressive body language, make them appear intimidating; the way in which Ashcroft barges between them shows that he refuses to alter his course for them; again it shows that he refuses to defer to anyone.

03:30 - 03:32

In this shot, Ashcroft once again finds himself being chastised. The man's glower and aggressive pointing gesture makes it clear that he is berating Ashcroft. Again, the fact that a POV shot is used forces us to take on the perspective of Ashcroft. It could be read as symbolising how he feels mithered by older generations. The way in which Ashcroft once again walks on without remotely acknowledging the man could be seen as an act of defiance.

04:07 - 04:23

As previously stated, record labels tend to make the lead singer the focal point of the band; however, most 'band' music videos feature all members of the band at some point. The way in which the rest of the band file in behind Ashcroft creates the impression that they have 'got his back'. Also, the way in which they walk almost in a line, and are in close proximity to each other, creates the impression that they share a tight bond; they are like 'brothers'. It is, however, worth noting that, as the lead singer and focal point of the band, Ashcroft remains in the centre of the frame, ahead of the rest of the band members.

04:32 - 04:35

Just as the music video begins with a fade in, it ends with a fade out. Fade ins and fade outs serve as a visual codes to introduce and conclude a scene. They work particularly well in this video as the song itself begins with a fade in and ends with a fade out.

Focus Group

Members of the focus group had the following to say about the video:

"This is an iconic video. It's a great concept. It's very simple, but you get the impression that there is more to it than immediately meets the eye. When you watch it again, you begin to realise that the extras aren't random: the woman in the car represents people that nag him and get on his case; the attractive woman represents people who look down on him; the two men represent people who try to intimidate him; the older man represents older generations berating him; the Jaguar with with the tinted windows he attempts to look into represents the rich and how how he is excluded from their world, etc. He stands up to the all of them in one way or another."

"I think Richard Ashcroft really makes this video. At first, it is difficult to know what to make of him; he's kind of asking to get beaten up. Having said that, he's also quite endearing. There's something likable about about him. He's very broody and he seems to have a massive chip on his shoulder, but he's kind of relatable. I think everyone has had that feeling of it being them against the world at some point in their life."

"I like the 'Britishness' of the video. The Verve were an iconic Britpop band and this is very much a British video. I like the fact that it was filmed in an grimy part of London instead of somewhere glamorous in L.A. or somewhere. It just wouldn't have worked. The setting reflects the grittiness of the song. The British iconography makes it very relatable."

Lessons to be Learnt

• It is well worth combing the lyrics of a song for individual lines which might make for a good concept for a music video; in particular, it is worth keeping an eye out for any interesting metaphors that are employed.

• It is very important to match the mise en scène to the tone of the song.

• If this video is representative, it would seem that that the bulk of a music video consists of mid shots. That being said, close-up shots and long shots also feature heavily.

• The lead singer needs to be the focal point of the music video, as this helps with brand recognition.

• It is worth experimenting with ways of establishing enigma and creating an aura for the lead singer / star of the video - even if they are an 'anti-hero'. In this video, the director achieved this by using a pan shot and a tilt shot, and delaying revealing the identity of the singer. It is also worth considering employing a long take at the beginning of a video.

• Used well, long takes and dramatic pauses can be very effective.

• Having the singer sing the lyrics without breaking the fourth wall can also work well.

• It can be important for elements of the video to be relatable to the target audience; be that the protagonist or the setting.

• Rebels / anti-heros / everymen tend to be popular protagonists.

• In order to establish a rebellious or even unique protagonist, it is important to highlight that they are in some way different; this might be achieved by having them break social norms or doing something against the grain.

• The editing in the introduction and the conclusion of the video needs to match the song; in this instance, fading in and fading out worked well as the song itself employs fade ins and fade outs. A song that begins or ends on a punchy note might benefit from a straight cut from / to black.

• People tend to enjoy videos which reveal a deeper meaning upon repeated watches.

• It is well worth considering incorporating elements that are symbolic into the video.

• Filming on a busy public road can be very effective - particularly if there is something 'urban' about the song. However, logistically it could be problematic in terms acquiring permission to film, enough extras to populate the location, and actors / actresses who are not phased by performing in a public setting.