Billie Eilish’s 12 best music videos

If there’s one thing we’ve learned from Billie Eilish’s six-year career, it’s that the pop star takes her job seriously. As the sole songwriter behind her melancholic, genre-defying sound, which she built with her brother Finneas, she is also somewhat of a professional stuntman. Nowhere else is Eilish’s fierce dedication to her craft best demonstrated than in her music videos, which saw her pouring black liquid out of her orifices, filming while submerged in water, and holding a literal tarantula in her mouth, among other extreme feats. .

Ahead of the arrival of the singer’s third album, Hit me hard and soft – which is sure to produce its own array of dazzling videos – we decided to take a look back at Eilish’s impressive video catalogue, which has seen her evolve from a dark-minded horror fan to a director with limitless vision.

“Ocean Eyes” (2016)

“Ocean Eyes” is Eilish’s first music video, and calling it simple would be an understatement (she just sings into the camera while hands move a purple latex sheet behind her). But it was enough to captivate an audience of millions – perhaps because of the intensity of that look.

“Stomachache” (2017)

Have you ever gone for a nice sunny walk, only to be stopped by the police for putting your friend’s bodies in the back of your car? Well, that’s what happens to Eilish in the video for “Bellyache” — note the lyrics — our first sign of the singer’s dark side.

“when the party is over” (2018)

According to Eilish, the black goop she drinks “when the party is over” was a mix of Xanthum gum and charcoal water, a concoction she found “miserable.” She also had tubes taped to her inner tear ducts to drain the tears, but all that effort came together for what remains one of her most visually striking videos to date.

“You Should See Me in a Crown” (2018)

It might make the sight of Eilish’s terrifying yet impressive “You Should See Me In A Crown” more bearable knowing that the singer loves spiders and even once had one as a pet. But then again: probably not.

“bad guy” (2019)

“Bad Guy” is the singer’s most colorful video to date, but you can still count on Billie’s classics: blood coming out of the nose, creepy crawling backwards across the carpet, and decapitated heads (which Are CGI, thankfully).

“all good girls go to hell” (2019)

Billie Eilish smeared herself and 23-foot-long wings in black slime to deliver a message about climate change, and in turn, what real music horror could look like.

“Xanny” (2019)

There may not be much happening in “Xanny,” but it’s significant as Eilish’s first-ever self-directed video (she directed almost every video after this). Sitting on a bench, she becomes a bona fide ashtray as a pair of hands hold out their cigarettes to her – a compelling vision for an aspiring director.

“everything I wanted” (2020)

The music video for “Everything I Wanted,” dedicated to her brother Finneas, is truly one of Eilish’s saddest. In it, she emotionlessly drives them both into the ocean – a simple premise, but impressive enough to warrant multiple rewatches.

“Therefore I Am” (2020)

I know what you’re thinking: are we ever going to see Billie happy for a change? Well, in “Therefore I Am,” where she causes chaos in an abandoned mall, you know, the teenage dream.

“Your Power” (2021)

Entering Eilish’sHappier than ever‘ era we finally see the star go out and embrace nature. Awesome! But it’s still Billie, which means there’s also a real 80-pound anaconda slowly wrapping itself around her neck.

“Happier than ever” (2021)

As the most beloved song from her second album, ‘Happier Than Ever’ deserved an accompanying video spectacle, and it got one. A lavish indoor set is destroyed by the water as Eilish swims to safety, a stunt she obviously performed herself. Then she screams on a roof as it rains around her. Of all her videos, this one feels like Eilish is at the height of her powers.

“What was I made for?” (2023)

“What was I made for?” isn’t an official release from Billie Eilish, but the video marks a significant shift for the artist, towards a pastel palette, with no horror themes in sight. But it is still powerful and not without message; Dressed as a 1950s secretary, Eilish puts away doll-sized miniatures of clothes she actually wears in public before a gust of wind threatens to blow them and her away. Simple, but there’s a hint of melancholy, a quality that could ultimately be Eilish’s signature.