Austin Post is a walking contradiction. He’s a guy who looks like a medieval knight who got lost in a Texas tattoo parlor, yet he makes some of the most polished, genre-blurring pop music on the planet. But if you’re just listening to the audio on Spotify, you’re honestly missing half the story. The music video Post Malone era, stretching from the grainy, low-budget days of "White Iverson" to the cinematic, high-budget chaos of his latest country-tinged visuals, is essentially a masterclass in branding. It’s weird. It’s expensive. Sometimes, it’s downright bloody.
People forget how much the visual for "White Iverson" mattered back in 2015. It was just a guy in a desert. He had braids. He had a Rolls Royce. He was doing some awkward hand movements that became iconic. That video, directed by Rex Arrow, cost almost nothing compared to what he spends now, but it set the template for the "Posty" aesthetic: a mix of high-end luxury and "I just rolled out of bed" energy.
The Cinematic Evolution of the Music Video Post Malone Style
When you look at the middle of his career—the Beerbongs & Bentleys and Hollywood’s Bleeding era—everything changed. The budget exploded. We aren't just talking about cool cars anymore. We’re talking about full-scale medieval battles and post-apocalyptic landscapes.
Take "Circles." It’s a radio-friendly, melancholy pop song. You’d expect a video of him walking down a rainy street, right? Instead, director Colin Tilley puts Post in full suits of armor, wandering through a war-torn fantasy world. It’s literal. The "circles" are the repetitive nature of war and heartbreak. It’s basically Game of Thrones if Jon Snow had "Stay Away" tattooed on his forehead. This shift toward high-concept storytelling is why he stays relevant. He doesn't just release a song; he releases a short film that demands you pay attention.
Then there is "Rockstar." Most people remember the sheer amount of fake blood. Inspired by Lady Snowblood and classic Japanese cinema, it featured Post and 21 Savage wielding katanas against a room full of suits. It was polarizing. Some fans loved the Tarantino-esque gore, while others found it a bit much for a chart-topping hit. But that’s the point. A music video Post Malone project is rarely "safe." He’s willing to look ugly, get beat up, or play a character that doesn't fit the "cool rapper" mold.
Why Directors Love Working With Him
Directors like James DeFina and Louis Bell have talked about Post’s willingness to go along with almost anything. He’s a natural on camera because he isn't trying to act like a movie star. He’s just being a magnified version of himself.
In the "Goodbyes" video, he literally dies in a knife fight within the first thirty seconds. He spends the rest of the video as a muddy, decaying zombie. Think about that for a second. One of the biggest stars in the world spent hours in a makeup chair just to look like a corpse for a five-minute clip. That level of commitment to the "bit" is rare in an industry where everyone wants to look perfect 24/7.
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Breaking Down the "I Had Some Help" Era
Recently, we’ve seen a massive pivot. Posty went country. His collaboration with Morgan Wallen for "I Had Some Help" feels like a complete 180 from the dark, moody visuals of his past work. It’s bright. It’s shot at a dive bar called the Joshua Tree Saloon. There are trucks. There are American flags.
It feels authentic because Post Malone has always had that "everyman" quality, even when he was making trap music. The video isn't trying to be "Circles." It’s trying to be a party. This transition is a huge reason why he hasn't faded away like many of his 2015-era peers. He uses his music videos to signal his creative shifts. When he changes his sound, the color palette of his videos changes too. The dark blues and greys of Twelve Carat Toothache were replaced by the sun-drenched, dusty ambers of his country era.
The Secret Weapon: Humor and Self-Depreciation
If you want to know why people are still obsessed with every music video Post Malone drops, look at "Saint-Tropez." It’s a "flex" video. He’s showing off his mansions and his fleet of white supercars. But he does it with a smirk. He’s wearing a Louis Vuitton suit that looks three sizes too big. He’s dancing like your uncle at a wedding.
He knows it’s ridiculous.
By leaning into the absurdity of his own fame, he makes the audience feel like they’re in on the joke. You aren't jealous of his cars; you’re happy he has them because he seems like a guy who’d let you take one for a spin if you asked nicely. This relatability is his greatest asset.
Most artists use videos as a promotional tool. Post uses them as an extension of his personality. Whether he’s being chased by a giant monster or just drinking a Bud Light on a porch, the visual language is consistent. It’s always about the contrast between the massive celebrity and the guy who just wants to play Magic: The Gathering with his friends.
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Technical Elements You Probably Missed
The cinematography in a music video Post Malone production is usually top-tier. Even the more "casual" videos use high-end anamorphic lenses to give them a cinematic wideness. Look at the lighting in "Chemical." It’s simple—mostly Post in front of a green screen or a backdrop—but the color grading is meticulous. It’s designed to look like a vintage film strip, even though it was shot on high-end digital cameras.
- Color Theory: Notice how his "sad" songs almost always utilize cool tones (blues, teals) while his upbeat tracks lean into warm, saturated oranges.
- Camera Movement: There’s a lot of handheld work in his recent stuff. It feels more intimate, like you’re standing in the room with him.
- Wardrobe: Post’s outfits in his videos are often custom-made pieces that bridge the gap between "cowboy" and "punk rocker."
He’s also one of the few artists who still understands the power of a "moment." In the "Congratulations" video, the slow-motion shot of the confetti falling while he smiles is one of the most recognizable images in 2010s music history. It’s simple, but it’s effective.
What Most People Get Wrong About Post's Visuals
There's a common misconception that Post Malone is just a "face" for a big label machine. People think a marketing team sits in a room and decides he should be a cowboy this week.
If you look at the credits, Post is often heavily involved in the concept phase. He’s a fan of cinema. He’s a fan of aesthetic. The reason his videos feel so distinct is that they reflect his actual interests. He didn't wear a suit of armor in "Circles" because a consultant told him to; he did it because he thinks swords and knights are cool.
This authenticity is what drives his YouTube numbers. We aren't just watching a music video; we’re checking in on what Austin is into this month.
So, what should you do if you’re a fan or a creator looking to learn from his success? Start by paying attention to the directors he chooses. Research the work of Colin Tilley or Dave Meyers. See how they use lighting to tell a story that the lyrics might not be saying explicitly.
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If you want to dive deeper into the music video Post Malone catalog, don't just watch the hits. Go back and look at "Go Flex." Look at the way he used the desert landscape to create a sense of isolation. Then watch "Motley Crew" and see how he used a NASCAR track to create a sense of chaotic energy.
The biggest takeaway here is that Post Malone treats his visual identity as a fluid thing. He isn't afraid to scrap what worked yesterday to try something weird today. In a world of scripted, polished, and boring content, that’s exactly why we keep clicking.
To truly understand the impact of these visuals, watch his videos in chronological order. You'll see a young kid who was slightly uncomfortable in front of the lens transform into a seasoned performer who can carry a five-minute narrative without saying a single word of dialogue. It’s a masterclass in visual storytelling. Pay attention to the subtle shift from rap-centric tropes to a more eclectic, "post-genre" visual style that mirrors his musical growth.
Next time a new video drops, don't just leave it on in the background. Look at the framing. Look at the costume changes. Look at the way he uses his body language to sell the emotion of the track. That’s where the real magic happens.
For the most curated experience, start with these three:
- White Iverson (The Beginning)
- Circles (The Peak of Cinematic Ambition)
- I Had Some Help (The New Era)
Analyzing these three will give you a better understanding of his trajectory than any biography ever could. Keep an eye on his upcoming projects, as rumors of a full-length visual album have been circulating in the industry for years, and given his track record, it would likely be a genre-defining moment.