Didn’t Know is Noia’s personal ode to her closest friendships in New York, from dating to nightlife, her latest music video is ultimately about experiences which we can all relate to. Directed by artist Lola Blanc, and featuring Ela Minus, the video presents us with tense phone calls with a fictional boyfriend to WhatsApp audio messages collected by the artist and her friends which narrate their late-night experiences as well as languid sofa conversations.
An opening beat, which is both chaotic, and industrial and to which Noia, dressed in an ensemble reminiscent of the Y2K era, sings “didn't know, that loving you is the worst way to get, to get to you.” She tells the story of the ultimate fuckboy, in her own words, a “Don Draper,” which is why she borrowed a couple of dialogue lines from Mad Men. The lyrics talk about the bad dating experiences that she and her friends have had in New York City, “how we’ve survived through staying together and laughing together.”
Spanning 3 minutes, the mellifluous melody sung by the artist in angst is also an anthem for womanhood, from the bathroom gossip to the spontaneous dance parties. As Noia explains, the concept behind the “surreal video,” was “friends being VERY bored and done with fuckboys, so bored they can only yawn and roll their eyes and they can barely move.”
Didn’t Know becomes a world unto itself, one in which an Artificial Intelligence avatar appears from an early 21st-century Macintosh screen. It’s the video’s styling, inspired by past and present icons such as Prince, Thierry Mugler and envisaged by Yuri Tachi, which transforms this spark into a lightning strike, whether it be powered by kaleidoscopic, crystal-embellished nails and spectacular, gravity-defying hairstyles, or the introductory and later looks. Both the artist and the ensemble are dressed in everything from checkerboard prints and towering platform heels, made longer by matching tights, to waistcoats and corsets and an electrifyingly blue power suit, accessorised by green gloves in a nod to Prince’s Batman era. Ultimately, it is just as Noia aptly describes, “a vision of rainbow colours and textures.”
“We wanted this video to feel very earnest since at the end of the day this song is about friendship and laughing away the love troubles” she explains. “So, half of the video is just dancing and having fun”. It’s this very unchoreographed vivacity, with which the video unfolds and the real-life situations it reflects, which distinguishes it as yet another empowering track by an artist whose works not only compel her audience to listen but to get up and dance.
Spanning 3 minutes, the mellifluous melody sung by the artist in angst is also an anthem for womanhood, from the bathroom gossip to the spontaneous dance parties. As Noia explains, the concept behind the “surreal video,” was “friends being VERY bored and done with fuckboys, so bored they can only yawn and roll their eyes and they can barely move.”
Didn’t Know becomes a world unto itself, one in which an Artificial Intelligence avatar appears from an early 21st-century Macintosh screen. It’s the video’s styling, inspired by past and present icons such as Prince, Thierry Mugler and envisaged by Yuri Tachi, which transforms this spark into a lightning strike, whether it be powered by kaleidoscopic, crystal-embellished nails and spectacular, gravity-defying hairstyles, or the introductory and later looks. Both the artist and the ensemble are dressed in everything from checkerboard prints and towering platform heels, made longer by matching tights, to waistcoats and corsets and an electrifyingly blue power suit, accessorised by green gloves in a nod to Prince’s Batman era. Ultimately, it is just as Noia aptly describes, “a vision of rainbow colours and textures.”
“We wanted this video to feel very earnest since at the end of the day this song is about friendship and laughing away the love troubles” she explains. “So, half of the video is just dancing and having fun”. It’s this very unchoreographed vivacity, with which the video unfolds and the real-life situations it reflects, which distinguishes it as yet another empowering track by an artist whose works not only compel her audience to listen but to get up and dance.
