Setting the mood way before the release of the single through multiple teasers like onstage performances, Asake captures his story from a boy bred in the inner city of Lagos Island to the peak he now stands on in fewer words. The song’s arrangement, choral vocals from Soweto Spiritual Singers, and progressions communicate the ambience of the record as powerfully as the lyrics and accompanying video.

Directed by Edgar Esteeves, the music video shares the simplicity of the record with a minimalist approach that visualises the mood and sonic ambiance of the song. Set by the beachside, Asake is elevated on a mini stage, surrounded by white-robed choirs with their hands stretched to the heavens, a gesture of thanksgiving observed in churches.

Here, Asake is the one with a thankful heart, and the single “Worship” soundtracks this moment where he appears largely pensive, raising his hands in du’a or lying on the beach. The song and accompanying frames of the music video all meet at the intersection of Asake’s spirituality and originality.

In “Worship”, gratitude sits in reflection, in stillness, in the quiet acknowledgement of how far one has come. Asake leans into that space with clarity, allowing his story to breathe through both sound and silence, and in doing so, he offers a piece that feels like a testimony and a brilliant performance.

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Flavour’s ‘Afroculture’ music video is a regal display of African pride, where two West African cultures, the Igbo tribe of Nigeria and the Pulaar people of Senegal, are rendered in a refined expression of continental semblance and cultural heritage. The video is beautifully populated with TG Omori’s crowded-vixen flair, which he has said is meant to spotlight aspiring creatives, serving as a launching pad much like it did for him.

The video opens with a rapid bird’s-eye shot of an ancient African city: clustered brick houses and towers knitted closely in a way that speaks to Africa’s long history of architectural splendour, a scene that rides on Baaba Maal’s vocal richness, with TG Omori’s lens eventually slowing on Flavour and a group of dancers strategically positioned in a dimly lit mud-brick building. At this point, Flavour and TG Omori’s vision becomes clear: a contemporary rejuvenation of what a grand celebration of Africa’s cultural heritage once looked like. Every detail mirrors the essence of these festivals — from models adorned in beads, feathers, and body art to choreography that embodies the hook of the song, “Come on, let’s dance”, a chant closely trailed by the ‘ọjà’, a talking flute used by the Igbo people of Nigeria.

For Africans, the video evokes a deep sense of pride — a strong, palpable yearning for the glory days of old and how they can be relived in today’s modernised world. And this, TG Omori captures brilliantly, moving across multiple landscapes and locations with a mix of mild and exaggerated effects that somehow ground the music video. From the video director to the artists and the many cast involved, there’s not a moment where they seem to run out of steam in delivering a visual performance of a lifetime.

In the end, ‘Afroculture’ is a living, breathing reminder of the power of cultural memory when placed in the hands of artists who understand its weight. With ‘Afroculture’, Flavour, Baaba Maal and TG Omori not only revisit heritage, they reimagine it, inviting the continent, and anyone paying attention, to witness a celebration built on history, pride, and sheer creative intent.

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However, the official music video for ‘Na So’ does more than serve as a visual aid for Shallipopi’s message, craft, and brand. It also shines a spotlight on the talents of UK-born Canadian video director Lawraines and his sharp editing skills. In the video, Lawraines stays in sync with the production beyond the song’s message or theme. Its bass, reverb, and every high point in the production are conveyed with entertaining, creative effects.

Cannabis, whips, chains, and a gang of friends; Shallipopi leans into the hip-hop stereotype, captured across multiple locations, from a gas station to his silhouette masterfully placed in a mansion. Lawraines doesn’t just direct the narrative of ‘Na So’, he beautifies it into a near-perfect, ideal world. And e hether the message passed on in the song and its music video is morally right or wrong becomes secondary to the unintentional creative agreement in delivery between Shallipopi, Producer X, and Director Lawraines.

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Not very often do you see materials representing plus-size women or men in this part of the world’s music scene. Even when they undoubtedly make up a significant part of an artist’s fanbase, inclusive portrayals remain rare. Davido, however, feels like one of the few artists with a genuine attentiveness to and understanding of inclusivity, particularly in music and music videos. With “10 Kilo”, he joins creative forces with Director Pink in what feels like a landmark moment for plus-size model representation in Afrobeats visuals. From the appearance of a plus-size lead vixen—the late Joy Ezenobie—in Davido’s 2015 smash hit “Dodo”, back when only society’s idea of “perfect” vixens dominated screens, to seeing multiple plus-size women take centre stage in the official music video for “10 Kilo”, this is an offering dedicated to body positivity and a specific weight class Davido has consistently celebrated.

Director Pink and Davido’s “10 Kilo” dismantles the tired notion that only a certain body type is worthy of big media moments. It’s a powerful yet light-hearted, alluring portrayal of beauty in its fullest form.

The video opens with “R&B”, featuring Shenseea & 450 from the 5ive album, soundtracking Davido and Zlatan’s walk out of an event before Davido steps into a GAC Motors van. The drive home is captured with sweeping aerial and side shots that highlight the vehicle’s presence as a muffled “10 Kilo” plays before being cued up to full volume.

It then cuts to a fashion runway showcase, complete with the breathtaking silhouette of a plus-size model, a backdrop honouring the late Sound Sultan, and Davido performing “10 Kilo” as he sings: “I know many different songs don come out, but my girl, if I no sing about you, wetin I wan sing o.”

Director Pink plays with colour in wardrobe choices, set design, and furnishings, creating a vibrant visual palette that matches the song’s celebratory tone. Beyond the masterful camera movements, Pink captures the essence of plus-size women in their dance, their stride, and the way they move—like a peaceful turbulence. The video wraps with a plus-size women’s party, as D’Prince and Peruzzi join Davido on the runway, closing with a homage shot of Sound Sultan’s Back ‘From The Future’ vinyl, hinting at the party’s continuation long after the cameras cut.

With “10 Kilo”, Davido not only extends his artistry but also his cultural impact, positioning body positivity as more than a passing statement but as an enduring part of his narrative. Davido and Director Pink have delivered a work that is celebratory without being performative, reaffirming his willingness to push boundaries and setting a precedent for inclusivity in African music videos.

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In an interview with radiojusmen 105.7, Odumodublvck shared that global star and colleague Rema randomly hit him up to cover the cost of the official music video for “PITY THIS BOY”, which has now been added to Odumodublvck’s visual repertoire. The futuristic video, directed by visual creative “The Alien”, is expressed in a most unconventional way that may or may not tie accurately into the song’s central idea. “PITY THIS BOY” in the grounded Nigerian context is a song that addresses the incessant financial requests (billing) that come with being a man. And in the song, Odumodublvck is done being encumbered by them all.

He makes it clear that all he wants is to spend money and have a good, alone time with his woman (shima). And while the official music video doesn’t strongly reinforce this idea, it portrays the smitten relationship between Odumodublvck and his personally developed droid.

The expression begins with Odumodublvck wearing a lab coat and his signature Okpu-Agu hat, accompanied by a co-scientist and a female droid sprawled on a lab table. After tweaking a few things, the droid comes to life, and Odumodublvck—alongside his lab assistant—is exhilarated by the pleasant outcome. It pans to new slides of Odumodublvck enjoying quality time with the droid, as inaudible soliloquies like “See Machine” occasionally pop up on screen.

As the song progresses into Victony’s thematically strong verse, the video doesn’t quite follow suit or highlight the collaborative nature of “PITY THIS BOY”. It continues in its storyline, and eventually, the droid malfunctions—or, in the song’s context, misbehaves—to the point of severing ties (forcing a shutdown). The video ends with both acts in celebration alongside producer Niphkeys in a bluish room.

The official music video for “PITY THIS BOY”, much like the song’s message, is a playful take on a serious dilemma of the Nigerian man. It might resonate with most, while a few may long for a more accurate portrayal.

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In the first official video off the project, director OYE 2.0 and Falz showcase the central theme of the project—the richness of African essence and culture—shrouded in creativity and expressed through the styling, vixens, and every frame.

The motion picture opens with a frame that reads “TABLE SET FOR DRINK AND MEAT,” before panning to the video’s major setting: a fashion runway of sorts, where beautiful models dressed in African attire emerge, contrasting the largely formal audience in attendance.

As Falz self-applauds his uniqueness and ingenuity, weaving briefly through themes of women and societal rhetoric, the video meets the delivery of each line halfway—passing a message that not only entertains but lingers.

Falz and the director take the highlighting of African heritage a step further, as a staff—typically a symbol of wealth or authority—appears in his hands. For an artist who’s always shown a knack for carefully crafted storytelling, this visual cue stands out. Each frame reinforces the lyrics of “Round Of Applause.” For instance, when Falz sings “Did I tell you that I love your nappy hair,” the camera cuts to a model with beautifully natural hair, shot in black and white. African artefacts, like carvings similar to the Benin ivory mask, make an appearance, adding to the cultural richness Falz’s sixth project appears to pursue.

A few of his friends and collaborators—Chillz Chilleaux and Yung Willis—are captured alongside him, all dressed in black, seated around a dining table as he sings, “Introduce you to my people this is usually what you get / Extraordinary super fucking fantabulous / Not a one man army, you no go fit come tackle us,” closing off with striking African imagery like “Gbe mi lo s’okun mo fe ki Yemoja.”

As the video closes, viewers return to the runway. The models disappear, leaving only Falz standing alone, yet never more seen. A round of applause follows; silent, but resounding, echoing a kind of reverence that words can’t quite hold. With a final walk through the runway’s entrance and into the backstage, Falz leaves an imprint, a gesture that says the feast isn’t over; it’s only just begun.

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True to the spirit of street hop, “Paper” isn’t just about celebration; it’s also a bold expression of the deeply ingrained desire for financial success. Unlike many of his contemporaries who narrate tales of the street’s harsh realities, TML Vibez aims to distinguish himself, as evidenced by his recent project, by fundamentally instilling hope in the streets through an aesthetically pleasing way; with abundant colours.

Directed by one of Nigeria’s finest visual storytellers, Director K, the music video brings this colorful vision to life. He skillfully translates TML’s lyrics into a serene depiction of street luxury. The video is crisp and complemented by stylish vixens, reinforcing TML’s message in ‘Paper.’ Lyrics like “it’s written mo ma lowo” (meaning “it is written I shall be rich”) are magnified to a larger-than-life scale, making the aspiration almost tangible.

With ‘Paper,’ TML Vibez not only showcases his musical prowess but also his vision of bringing hope and vibrancy to the street-hop scene. His collaboration with DJ 4kerty and Young Jonn results in a track that is both sonically pleasing and thematically uplifting, which sets a new standard in the street-hop sphere.

‘Paper’ is available for streaming on platforms like Audiomack and Spotify. The visual expression of the track can be viewed on YouTube.

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Watching every shot of the music video for Rose May Alaba’s latest release featuring Chocolate City Afro-Pop rising star TAR1Q, this writer noticed only one thing missing from otherwise perfect visuals: intimacy in the dance. The song, which suggests exactly that, was complemented by a music video and an ideal setting laden with disco lights and a prominent blue filter, but lacked the touch of intimacy as they danced in what is supposed to reflect a nightclub or her thoughts.

As a viewer sits through the visuals directed by Thompson Ekong of TSE Studio, they are compelled to ask, “Where are the hands?” However, even without blatant intimacy between a man and a woman in the music video, Rose May Alaba’s somewhat sensual choreography alongside the vixens is a sequence of beautifully shot frames that drives the idea of the song home.

As the blue and red disco lights brighten and dim, the featured artist, in his signature style of a singlet tank top and jorts, was captured in individual frames and also with Rose May, culminating in the ecstatic aesthetics of the music video.

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Bringing to life a story line, turning lyrics into reality is no easy feat, but the creatives in the Nigerian music scene make it look like child’s play.

One of these creative, and exciting music videos currently gaining so much views is the music video for Davido’s Funds.

Within less than 2 days of its release, it has ganered over 600,000 likes on Youtube. The track features talented artists ODUMODUBLVCK as well as Chike, and the vibrant video showcases the spirit of contemporary Nigerian music and culture, making it a must-watch for fans and newcomers alike.

The music video for Funds was directed by the talented Dammy Twitch, known for his creative storytelling and visually stunning productions. A music video which pays tribute to the late legendary South African artist Brenda Fassie, Funds is rich in color and energy, reflecting the lively atmosphere of Nigerian celebrations. It features energetic choreography and engaging visuals that draw viewers into the narrative.

Funds dwell on the themes of joy, success, and the celebration of life, which are major aspects usually associated with Davido’s music.

As the holiday season approaches, “Funds” is expected to be a top jam in many playlists during the Detty December event. This release sets the stage for a highly anticipated album from Davido in 2025, which promises to give more exciting music.
With its engaging visuals and infectious energy, Funds is sure to leave a lasting impression on viewers and fans alike.

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From the outset, it’s clear that the cast fully understands the song’s visual essence, each contributing to the overarching vision set by Tems and film director Loris Russier. Shot in what seems to be a gritty neighbourhood, every frame of “Turn Me Up” is a visual manifestation of the lyrics. Young male gangsters, donning ski masks and makeshift coverings, stand frozen in around and behind Tems, their piercing stares adding an element of raw intensity to the video.

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