For creators, inspiration can be found in the most unexpected places. That’s why we created #Watchlist — a series that asks Nigerian video directors to list the most interesting things that influenced their creative choices while shooting.

Sarz and WurlD recently dropped a fantastic joint EP, I LOVE GIRLS WITH TROBUL — a project about love and messy relationships. Prior to its release, the duo unveiled a fitting video for standout track, “EGO”.

The Chukwuka Nwobi-directed clip, which follows a couple post-breakup, perfectly captures one of the project’s core themes. So, we decided to sit with the director to discuss what inspired his work on the video

On main inspiration:

The main thing that inspired the video for “EGO” was the drama that comes with a typical breakup. Then we took that experience and added the influence of Lagos life and youth culture.

On intended narrative:

Like with the song itself, the narrative follows a boy and a girl who just called it quits. While they clearly still have feelings for each other, their egos won’t let them come together and work things out.

On visual references

We were inspired by music videos where screentime is shared by a duo or group, like Majid Jordan, The Internet and Radiohead. We wanted Sarz and WurlD to get equal screentime, while still keeping the video organic.

On casting and styling:

For the main casting in the video, we were looking for someone young and innocent-looking to play the female lead. As for the styling, it was based on our theme, which was comfortable and classy. 

On oddest influence:

The oddest thing that influenced the video was the opening scene, where the girls are talking. It had multiple takes because it was fully improvised. Then Aduke picked up that glass of wine and everything just flowed.

For creators, inspiration can be found in the most unexpected places. That’s why we created #Watchlist — a series that asks Nigerian video directors to list the most interesting things that influenced their creative choices while shooting.

After a few 2019 songs that didn’t really take off, Teni finally landed another major hit with her aspirational banger, “Billionaire”. Now, she’s dropped a video for the single, and thanks to the vision of one of the year’s busiest directors, TG Omori, it’s easily her best one to date.

The video has already amassed over 200 thousand views in less than 24 hours, so we decided to chat with TG about how he brought it all together — from paying homage to the iconic game show, Who Wants To Be A Millionaire?, to casting its beloved host, Frank Edoho.

On main inspiration:

Well, the song itself, which is about Teni wanting to be a billionaire, inspired the music video. I was trying to create a story about a young, ambitious lady who dreams of making it in life.

On intended narrative:

In the story, she applies to be on the fictitious game show, Who Wants To Be A Billionaire. We also wanted to show her studying day and night in her own little space, indicating the importance of preparation.

On visual references:

Well, the popular game show, Who Wants To Be A Millionaire? was the main influence for the video. And for the first scene, I was inspired by memories of family visits during Christmas in Lagos.

‘Who Wants To Be A Millionaire? ‘

On casting:

I wanted a lovely and bold woman to play the mother, and that’s why I cast Tina Mba. I thought she’d bring a sweet balance. I also had the kids from the dance crew, Dream Catchers bring their happy faces to the family visit.

For casting Frank Edoho, it was something Teni jokingly said when we were discussing the idea. I immediately agreed, and Teni reached out. Frank agreed, with his only request being that the set must be top-notch.

On the oddest influence:

I wouldn’t call it odd, but the struggle to make it in Nigeria certainly influenced the video. That’s why the Broda Shaggi scene was important. Even with all of Teni’s preparation, it still took a lucky guess for her to win.

For creators, inspiration can be found in the most unexpected places. That’s why we created #Watchlist — a series that asks Nigerian video directors to list the most interesting things that influenced their creative choices while shooting.

Tems is easily one of 2019’s most original breakout stars. Her anthemic third single, “Try Me” has been readily embraced by a wide audience, and its Ademola Falomo-directed clip, which also happens to Tems’ first-ever music video, has been a big part of that success.

So, as the video nears a million views on YouTube, we decided to sit with Falomo and have him break down everything that influenced his work on it — from 2002’s Oscar-nominated crime film, City of Gods, to the cover art of Tems’ previous single, “Looku Looku”.

On main inspiration:

The song itself was a major inspiration for the video. The synth, kicks and melody. The first time Tems played it for me, I had goosebumps. There was this unexplainable rage I felt, as we sat in the conference room listening to what sounded to me like the most emotional song I’d ever heard.

I remember I had a mental image of someone climbing to the top of a mountain seeking redemption. At that moment, I knew my mission would be to get to the bottom of that emotion and translate it to the audience in the most beautiful way possible.

On intended narrative:

Leaning on the strong themes of boldness and rebellion in the song, we built a narrative around misfits getting liberated from the bonds placed on them by society. We ultimately wanted to make a video for the people that don’t see themselves represented enough in popular media.

For us, these people were the ones that society looks down on because of certain physical features or lifestyle choices. We also wanted to comment on the oppression of women in our society and how powerful they are regardless.

On Tems’ input:

At our initial meeting, Tems spoke about what the song meant to her and her vision for the video, which included a scene with bound people entering into a truck and a scene with her performing in a room with women. So, I built on those ideas, weaving them with mine.

On visual references:

I wanted something raw and dark, based of off my initial feeling, so I picked inspiration from music videos, ads and my love for European cinema. I loved the energy of Rosalia’s “De Aqui No Sales” music video, and that informed the general vibe I wanted for “Try Me”.

For the chase sequence, I was inspired by the scene in City of God, where the tender trio stole from the gas truck driver. It thoroughly represented the pace I wanted for the biker scene, from the pace right down top the minimal shots.

The shots and cinematography in the living room scene were intentionally different. We were trying to represent women in the best way possible, and we wanted you to feel their visual presence. For that, I was inspired by the way the women were represented in the video for Blick Bassy’s “Woñi”.

Rosalia — “De Aqui No Sales”

‘City of God’ (2002)

Blick Bassy — “Woñi”

On casting:

For casting, we made a list of what features we wanted to represent and went ahead to find not just people with those features, but the ones who have been involved in some form of activism surrounding it. Our hope was that the video would better serve to amplify their cause.

On styling:

In terms of styling, we knew early on that we wanted to work with Daniel Obasi. So, we briefed him on our vision, and he pitched great ideas on how he’d approach it. We wanted looks that would complement whatever emotions the cast would express, rather than distract from it.

Since the video already had a dark tone, we just made them wear dark colours to compliment that. Interestingly, the ‘X’ printed behind the captor’s jacket was a spontaneous idea by anti.design, and I felt it worked for the narrative. So, I had the leader of the ‘bad boys’ wear the same jacket as well.

On the oddest influence:

Tems, definitely. In my treatment to her, I stated how I felt she had a dark/ energetic side to her personality. I had seen this from being in a meeting with her and the artwork for her song, “Looku Looku”, and I wanted people to see it too. I wanted people to understand that, yeah, she makes all these vulnerable songs, but she could be really dark if she wanted to.

For creators, inspiration can be found in the most unexpected places. That’s why we created #Watchlist — a series that asks Nigerian video directors to list the most interesting things that influenced their creative choices while shooting.

Prettyboy D-O’s songs have always had an undeniably manic energy to them — something his music videos have never really been able to fully capture, until now. Thanks to Seyi Akinlade’s impressive vision, the clip for his latest single, “Dey Go Hear Wehh” is about as D-O as a video can be.

While many people don’t seem to have discovered it quite yet, the video is easily one of the most inventive and engaging of the entire year. So, we decided to sit with Seyi Akinlade and have him break down everything that influenced the rising rapper’s best music video to date.

On main inspiration:

I wanted to set the tone for the Pretty World universe. D-O’s persona, as shown through his music, channels a tribe/group mentality. We thought of the elements we wanted to explore going forward, and we put some of those pieces together to create this video.

On intended narrative:

The lyrics tackle the idea of a sort of ascension to a point that D-O was previously told he would never reach. With what we had, we wanted to present the beginning of that ascension and lay the foundation for all that is still to come.

On visual references:

Myself, TSE and Chukwuka Nwobi pulled inspiration from a wide range of already-existing visuals. One iconic scene in Gangs of New York inspired our need for D-O to have an army/audience to witness him going to war, while the video’s final shot was inspired by the final shot in 2012’s The Avengers.

Gangs of New York

The Avengers

On performance references:

The energy of D-O’s soldiers and the way everyone moved on the beach was inspired by 2015’s sci-fi epic, Mad Max Fury Road, while Solange’s video for “Things I Imagined/Down with the Clique” inspired our use of the dancing masquerade.

Mad Max: Fury Road

Solange – “Things I Imagined / Down with the Clique”

On styling:

We worked with Ifeanyi Nwune for D-O’s looks, which all represented the stage he was in — from the bulletproof vest he wore to war, to the MJ-inspired jacket he wore as king. As for our female lead, her outfit and mannerisms were inspired by Trinity from The Matrix.

The Matrix

On the oddest influence:

The oddest thing that influenced the video was the weather during our shoot. Dark clouds kept forming, threatening an intense rainfall, but it never rained. This setting put us in the mood for an armageddon, a word D-O threw at us a lot while we were creating the video.

For creators, inspiration can be found in the most unexpected places. That’s why we created #Watchlist — a series that asks Nigerian video directors to list the most interesting things that influenced their creative choices while shooting.

Following her game-changing record deal with Universal Music Group, Tiwa Savage came out with her first single of 2019, the Fela-inspired “49-99”. As great as the song was, the Meji Alabi-directed video that accompanied it was even better.

So, as Tiwa recently visited Genius to explain the track’s meaningful lyrics, we at Zikoko decided to do the same with Meji and the now-iconic clip. In great detail, the brilliant director thoughtfully breaks down how he made Tiwa’s career-best video.

On main inspiration:

To put it simply: Africa. From the fashion to the hairstyles to the components of the scenes, I tried my best to keep things authentically African, while also making something an international audience could really appreciate.

On intended narrative:

Overall, itʼs about African beauty and putting the strength of the African woman at the forefront, with Tiwa being the conduit. Weʼre showing various walks of life through her — from a schoolgirl to a woman who commands the attention of fawning men.

On visual references:

A member of Tiwaʼs creative team, Ibra Ake (Childish Gambino’s “This Is America”) had shared with me a mood board, and on it was Eliot Elisofonʼs decades-old picture of beautiful Congolese schoolgirls. Using a modern edge, I decided to bring that to life.

I also wanted to have some interaction between them, and that scene — which had all of them sewing together — was inspired by Donald Glover and Rihanna’s movie, Guava Island, which showed girls working in a factory but also having a laugh.

As for the opening scene, I made her the queen of an underground Dambe betting ring. I just liked the idea the more I thought about it. I donʼt even know if there are “underground Dambe rings”, but if there were and the leader was a woman, how cool would that be?

Eliot Elisofon’s photographs of Congolese schoolgirls

Donald Glover’s ‘Guava Island’

Dambe Warriors

On performance references:

Skeptaʼs “No Security” had him performing on the table as Pagans/Rothschilds ate and drank heartily around him. I thought to flip that on its head and have Tiwa perform on the table of chiefs. But instead of taking offence, they fawn over her like they all do in private.

For the Danfo scene, which had artwork inspired by Michael Umoudit, I got Tiwa to perform on top of it. This was quite precarious, because of the Kalakuta-styled dancers sprinkled around other buses. Iʼd have done this scene in a live Molue at night, but that wasnʼt logistically possible this time.

On casting and styling:

The song has a heavy reference to Versace — she opens the chorus with the line, “Mo fe ra versa/Mo fe ra Versace” — so thatʼs where the Medusa scene came from, but in a bid to make it more African, I decided to use crazy long braids instead.

Inspired by a picture I pulled of Seun Kuti, the all-Black girl Okada gang is something that just doesnʼt happen in Lagos — so creating all these juxtapositions was something I really relished during the entire creative process.

Too many Nigerian music videos are boring retreads of already tired concepts. That’s why we created #WatchThis — a series that focuses on the visuals that absolutely deserve your attention.

Nonso Amadi — “What Makes You Sure?”

While they never really break the mould, Nonso Amadi’s music videos are always, at the very least, gorgeously shot and narratively cohesive. For his latest effort, “What Makes You Sure?”, he ups the game with even more vibrant cinematography and a compelling side story.

The Seyi Akinlade-directed video is filled with clips of Nonso Amadi performing the song in various backdrops, but in between all that is a story of mistrust. Like on the song, Nonso Amadi struggles to convince his lover that he isn’t being unfaithful.

For creators, inspiration can be found in the most unexpected places. That’s why we created #Watchlist — a series that asks Nigerian video directors to list the most interesting things that influenced their creative choices while shooting.

Sometime in the near future, people will look back at 2019 and wonder how we paid so little attention to Ladipoe’s “Jaiye”. One of the best written and produced songs of the year, accompanied by a near-perfect music video, it’s downright criminal that this boisterous anthem isn’t a bigger hit.

That being said, it’s a little comforting that the video, directed by Seun Opabisi and Kewa Oni, got some love at the Headies: landing a nod for ‘Best Music Video’. So, we decided to have the duo break down, in great detail, all the influences and choices that led them to such an awe-inspiring final cut.

On main inspiration:

The tone of the song informed all we did with the video. “Jaiye” is a celebration of life and culture, and it was one of those rare moments where every single person was in complete agreement regarding the direction.

There’s an essence to every song, a feeling that you get from listening. When we’re developing music videos, we draw inspiration from that feeling, not necessarily the lyrics — giving us more creative wiggle room.

With “Jaiye”, the feeling you get when you listen to the song is joy. So, we decided to explore that, using Lagos as our backdrop. It was us simply asking, “wherever you’re from, what’s joy to you?”

On intended narrative:

Lagos is a melting pot for different subcultures, all of which are a part of an even larger community of artistic expression. At the core of “Jaiye” was a message telling people to go out there and have the time of their lives. 

So, we wanted to make a video that explored the common ground between these different creators and, at the same time, portrayed how dynamic Lagos is. And we wanted Ladipoe to be the central figure in this narrative.

Our video treatment had a line about Poe being the “conductor” of the movement and, in the final sequence, you see him doing music conductor hand gestures. It’s like, at that moment, he had his fingers on the pulse of the city.

On visual references:

We’re both huge fans of Guy Ritchie and sports campaigns. So, in pre-production, we went through a pool of different TV spots and scenes with fast-paced, high-octane energy and used them as our homework.

We wanted to make something that could be mistaken for a TV commercial, and we were greatly influenced by Guinness ads set in Africa. They tend to portray our culture and lifestyle without resorting to poverty porn.

Nike: Take It To The Next Level

Guinness: The Ticket

Nike: Nothing Beats A Londoner

Guinness: Thierry Henry

On performance references:

A phrase that stuck with us throughout the process was: “Lagos is an attack on your senses”. To enhance that feeling, we knew we wanted Poe and our performers moving around Lagos, showcasing its different sides.

So, one of our priorities was to have Poe performing as he navigated spaces, whether he was on a rooftop or a souped-up vehicle. Our references for his rhythm and performance styles came from other similar music videos.

Devlin — “50 Grand” ft. Skepta

Kwesta — “Spirit” ft. Wale

On casting and styling:

In terms of looks, we wanted: vibrant, stylistic and authentic. Our production designer, Tunji, and stylists, Bubu Ogusi and Stephen Tayo helped us achieve this via the set design and street style outfits.

This also helped inform our casting decisions and location choices. Real footballers, real BMX riders and more. Most of them in the video are performing in the same neighbourhoods they do in real life.

On the oddest influence:

The temperature in Lagos, oddly enough, came into play. So, if you look around the video, there are a lot of references to fire — from the coffin to the body paint on our BMX riders.

Too many Nigerian music videos are boring retreads of already tired concepts. That’s why we created #WatchThis — a weekly series that will dutifully curate visuals from the past week that deserve your attention.

Patoranking — “Open Fire” ft. Busisiwa 

When it comes to music videos, Patoranking has been killing the game for a while now. His Clarence Peters-directed video for “Available” deservedly scored a ‘Video of the Year’ nod at the upcoming Headies, and with his new video for “Open Fire”, it seems he’s already gunning for next year’s award.

The Sam Coleman-directed clip plays like a much quirkier version of “Available” — with even more eccentric outfits, more energetic dancers and even weirder locations. It’s the rare video from a Nigerian artist that manages to make the song it accompanies so much more enjoyable.

Reekado Banks — “Rora”

Reekado Banks has always been one of afropop’s most consistent stars, but as strong has his songs usually are, their music videos are rarely ever as good. Thankfully, that seems to be changing, and the new video for his latest single, “Rora”, might just be his most visually appealing to date. 

Shot in Los Angeles and directed by Dalia Dias, the video isn’t particularly complex — Reekado Banks and his love interest simply enjoy being in each other’s company — but what it lacks in narrative depth, it more than makes up for with breathtaking scenery and lush cinematography.