CHASE MURPHY
I always take an intentional, hands-on approach with every layer of my artistry. Whether it be music, or my secondary disciplines like film and graphic design, storytelling is always at the core of what I do. My work thematically revolves around optimism, self-belief, and child-like wonder. These motifs also tend to bleed into the visual world I create through color, animation, and nostalgia.
PORTFOLIO
Among 75 released songs, here are a few that stand out as examples of optimistic lyricism, storytelling, and musical quality.
DISCOGRAPHY HIGHLIGHTS
Written soon after I graduated high school, “No Mo” was my first song to generate significant traction outside of my hometown. The song is about parting ways with a romantic interest when she went off to college, while I stayed home to pursue music. Massachusetts is the highest educated state in the country, and my decision to not continue my education was incredibly looked down upon by both my peers and adults alike. Especially considering the racial prejudice and elitism people have against Hip-Hop as an art form, often deeming it as “less than” traditionally white genres of music. Though the song’s lyrics focused more on the size of my dream and the belief that I could accomplish it, it stemmed from a place of mental endurance as I went against the cultural expectations of my upbringing.
“I feel like time move slow, cooped up in my new home. I’m in the same ol’ city, she’s on a brand new coast. I just wonder what it like, but college closing the door.”
Slated for release this September, “First & Goal” is a monumental progression in my sound and storytelling as an artist. The song topically plays on my experience playing American Football as a kid, while maintaining an incredibly fitting, anthemic soundscape. It gave me the space to speak on a part of my life I hadn’t previously written about, with lyrics checking my personal boxes of both substance and optimism. The song’s audible enormity however is the result of teamwork — as it united 26 musicians between producers, horn players, instrumentalists, background singers, engineers, and myself. In the context of my catalog, it’s the perfect blend of pop instrumentation and intentional Hip-Hop songwriting that I can be proud of.
“After I graduated, man I did it, I’m done. I did it for fun. My coach never gave me the ball, let me take it and run!”
“Magic” serves as the outro to my 2022 EP, “Tip of the Iceberg”. The song was inspired by a fan who reached out to me during the pandemic, asking my advice on how to find his purpose. I replied and asked what it was that he was passionate about. He said “I love to do magic, but my friends would never take my seriously as a magician”. What he didn’t know, is that I’m a magician too. Every dream requires some form of magic to come true, and the first step is believing in it. This song stands as both a response to that fan and a lyrical cornerstone in my “Hip-Hop’s Optimist” branding. It also shows that tools such as autotune and virtual instruments do not undermine the integrity of music, despite their criticism from people outside of the genre.
“Magic depends on if you believe. Don't focus on what you see, but what you aim to achieve. Never aim to please, so who you waiting to be? Cause any door can be opened if you creating the keys.”
Below are my favorite videos that I’ve self-directed & edited under my visuals alias, Happy Belated. These examples especially showcase my attention to detail and abstract use of inspiration. Click this section’s title for a complete playlist of music videos I’ve done for myself and other artists!
This was the first video that I visually themed around a pre-existing pop culture story. In this case, it was an abstract portrayal of Titanic, as the primary locations slowly progress from the deck of a ship, to a glacier, and eventually, a shipwreck. Perhaps most notably, the video was shot in Iceland and served as the flagship, title-track visual to my 2022 EP, “Tip of the Iceberg”. The project attracted a notable amount of press and marked a significant step forward in my craft as a lyricist, showcasing a philosophical nuance my music had yet to display.
“Many I admire, but aiming to inspire. Labels have inquired, I’m just not quite sure. History has taught me independence what you fight for.”
This video is an ode to my adolescence. It’s filled with references and imagery that are exclusively appreciated by those from my hometown — be it locations like my football team’s home field, the local pizza shop and corner store, or easter eggs such as “Happy Belated” being written on the cake, my childhood street sign appearing during the lyrics “my birthplace”, or the park that appears on the word “birthday” being a popular public place for kids’ birthday parties in town. These youthful themes are also portrayed visually through the occasional use of toy cars rather than real ones to imply that our dreams had come true. I also substitute any use of substances for candy, which is a reoccurring motif in my videos to playfully represent the evolution of vices.
By far one of the most ambitious videos of my career, “Shades On” pulled inspiration from two different sources. Thematically, it interpolates the story of Amelia Earhart, while visually drawing from the colorful aesthetic of Pixar’s “Up”. The stain glass windows are meant to represent the movie’s iconic balloons and perfectly match the song’s cover art. The video constantly alternates between modern, “narrative” performance shots and an era-sensitive storyline. Though the video ends with me embarking on an arial journey, its true ending is hidden in my “Tip of the Iceberg” music video, which reveals a plane crash. This was done intentionally to weave a story across multiple videos and deepen the connection with my most attentive viewers and fans.
“Jump” was the recent intersection of several worlds I’ve been juggling both sonically and visually. Shot over the course of 2024 between Iceland, Berlin, and Boston, it balances my signature, multimedia style of editing with grandiose cinematography — all while implementing new techniques such as claymation. Musically, it meshes my modernized, commercial sound (autotune, digital instruments, etc.) with more lyrical substance reflective of my overarching brand and current place in life.
“The weight of the world is something I cannot bare alone. But I don’t know where to go, bitch I’m made in America. I ain’t slept in weeks, this shit get deep as a baritone.”
A sentimental milestone in my visual catalog, “Put On” is the culmination of 40+ shows through the lens of 20+ videographers & photographers. To those watching closely, the video is far more intentional than a mere montage. It’s packed with historic venues and identifiable figures in the New England music scene I’ve had the privilege of befriending over the course of my career. The video’s concept stemmed from a quote I read at a college show in 2018. On the door of the venue’s greenroom read “Never take a show for granted” (visible at 2:05). I’ve always kept that in mind, no matter how small the opportunity. Beneath its aggressive soundscape, this song serves as a token of appreciation to those who have supported my dream; verbally cementing their names into my story.
Perhaps a refreshing step toward simplicity in my editing style, “Dangerous Game” stands apart from others in my catalog. Inspired by “The Lord of the Rings”, it follows me on an scenic adventure to the rim of a volcano. Something I’m especially proud of is that it was shot on a Canon camcorder I purchased at age 13. Although I inevitably overlooked as technology advanced throughout my career, I’ve recently grown to appreciate that videos are a product of your creativity rather than the quality of your camera. The video is edited to emulate 35mm film, and is a uniquely intimate take on a natural phenomenon that is typically captured by high resolution cinema cameras.
PERFORMANCE VIDEOS
My largest headliner to date was at The Middle East Downstairs in Cambridge, MA. It’s a great example of my showmanship with live instrumentation, as well as my music’s ability to rally a community around it. The show drew a crowd of 300 people and celebrated the release of my last LP.
This video marked my first-ever performance with a live band. Although less experienced in 2021, it’s still a testament to my artistic range. Both my catalog and live shows tend to lean more high-energy, but my diverse musical taste has contributed to these unpredictable moments that fans seem to appreciate.
2021 marked my first international performance in downtown Reykjavík. This video showcases my aptitude to entertain new audiences and transcend language barriers. The success of this show has led to countless other opportunities in Iceland since and is often a point of reference when booking international shows.
Though I’ve vlogged countless shows and studio sessions, these three pieces (specifically the first minute of each) represent how foundational storytelling is to me as an artist, regardless of the medium. I believe that contextualizing my art allows other people to appreciate it to the extent that I do, and would love to create something similar at The Saari Residence.
NARRATIVE PIECES
As an independent artist, I’ve picked up multiple artistic disciplines to support my career. One of which, has been graphic design. I primarily create my own concert flyers, though also rely on this skill for my multi-media music videos and social media assets, adding an additional layer of cohesion to my brand.
GRAPHIC DESIGN
One of my favorite event rollouts and aesthetics was for a concert I threw in Iceland in 2023. The show was on July 7th, so playing into the lucky number 7, I themed the promotional content around a deck of cards. Each artist was represented by a specific card and suit.
Additionally, I scanned physical playing cards to create promotional infographics and a countdown leading up to show day.
