'West Africans Dey Create': Three must-watch AfroPop Music Videos!
- Lourdes Alexandra Oppong
- May 20, 2021
- 5 min read
Updated: May 24, 2021
1. D I M E N S I O N : JAE5 FT. SKEPTA & REMA
When Grammy-award winning, East London native and first-generation Ghanaian JAE5 tweeted out a snippet of smooth Afro-swing instrumentals laced with steel pans, no one could predict the sonically cohesive gift he would be delivering to the world. Within days, inspirational and introspective bars from Grime superstar Skepta and a syrupy hook by Nigerian teen pop sensation Rema were washed unto the track, followed by a series of stunning visuals that transported their fans to a whole other Dimension.
(Source: @filmsyebs)
Shot in the buzzing city of Accra, the video oozes of Afropolitan youthfulness through the hybridisation of rich Ghanaian traditional culture and contemporary art and fashion. Skepta enjoys the best of both worlds mentioned above- during some parts of day, he sits in the majestic presence of the Ebusua Panyin who are elegantly adorned in black and white ntoma but at night, he vibes out on a dirt park alongside JAE5, Rema and a group of cool kids whose bright Afrofuturistic layers, stylistic courtesy of Ghanaian designers Jermaine Bleu and Nana Kwasi Wiafe, match the neon lights flashing from their cars and bikes. The constant celebration of all things Accra highlights the beauty of the tourist-friendly city in its simplicity as its glossy-skinned inhabitants are observed carrying out authentically West African yet mundane actions on sensational and cinematic landscapes through the directorial debut of Dutch-Ghanaian Ebeneza Blanche, assisted by seasoned Ghanaian visual inventor Nana Asihene and a team of promising local and diaspora creatives.
The crisp visuals pen a heart-warming love letter to the diaspora identity, willing to explore its roots and lay out their interpretation of what it means to be connected to both the motherland and the Western world. It showcases how expressing this particular identity, although complicated, is way deeper than transnational jollof wars and skipping unto the plane from Heathrow or JFK to indulge in ‘Accra December’ and ‘Lagos Rocks’ for the Yuletide season.
2. B O U N C E: REMA.
Whilst some artistes and producers may use their tags as a territorial marker of their musical identity, Rema uses two words to manifest and assure his listeners a sonic experience of forthcoming excellence- Another Banger! The Rema Regime has been a remarkable come-up; since plunging into the scene as a newbie in 2019 with the Ozedikus-produced Dumebi, the pop star has conquered the hearts and playlists of Afro-fusion lovers across the globe through an inventory of defying singles consisting hypnotic harmonising (often ridiculed as Desi singing) and a pulsating lexicon that amalgamates different Nigerian dialects (including yoruba, igbo to name a few) and funky yet catchy gibberish. In this impact event, Comet Rema is unstoppable.
(Shot by @scrdofme)
Like any other teen pop sensation, this torch bearer for new school West African music is breaking away from the chains of innocence and symbolising his entry into adulthood through slightly controversial and sultry lyricism- ‘Girl this night, we dey go like seven rounds!’. That’s right- just like the ones before him in popular Nigerian music, Rema has stepped into the year with an arsenal of witty and sensual puns that illustrate the 'Bounce' of the object of his desire's rear end.
(Shot by @scrdofme)
The sensual playfulness of the song is revived through a visual reimagining of the exact dystopian universe prominent in George Miller’s Mad Max, a nod to Western pop culture with a very obvious Afrobeats twist. Rema is accompanied by a group of female acquaintances, parading through hyper-saturated wastelands filled with bats, tents and speakers, doing the one thing he says he’s ‘inlove with’. Whether it’s synchronised, solo or against each other, the booties are bouncing and they are doing so with the support of seductive polyrhythmic choreography. The detail in the set design is dark and breath-taking but the Daniel Obasi-led styling in the visuals is its true winning element. Fish nets with golden skulls, metallic spikes and horns are littered across dark pieces of slightly Cyber-punk clothing, reaffirming the overall Afro post-apocalyptic aesthetic. The impeccable coordination comes as no surprise as it falls under the exceptional catalogue of Nigerian creative Director K’ which includes Wizkid and Tems’ iconic Essence video as well as Tiwa Savage’s Koroba.
This is truly Afro-Pop at its finest hour- fun, innovative and entertaining.
3. B L I N G: BLAQBONEZ FT. AMAARAE & BUJU.
The possibility for first-generation Chocolate City artistes such as M.I, and Ice Prince to make a comeback as impactful as their 2010-2014 reign has remained desirable yet debatable. However, the label has recently made a few adjustments (hello 100 crowns) in the form of a refreshing permeation of next level artistes who deviate from the traditional Hip-Hop essence of their predecessors. These artistes disrupt their musical abode with an alternative and adventurous edge. The ever-charismatic Blaqbonez serves as a great example. Dubbing himself the ‘Best Rapper In Africa’ (B.R.I.A), he uses his comedic flair across the interweb to compliment and promote his catholic discography of interloped genres. And now, the artiste is currently enjoying the buzz surrounding his debut album, Sex Over Love whose predominantly Trap sound has left enough room for the altè stand-out single Bling featuring Ghanaian- American songstress Amaarae and Nigerian Hook-King Buju.
(Shot by Walter Banks)
If there’s one thing appropriately noticeable about the visuals for Bling, it is the continuous shimmer in each scene. Reputable Nigerian cinematographer TG Omari, also known as Boy Director, aids the Chocolate City B.R.I.A in manufacturing the ultimate altè haven; a land of raging colour which includes dark psychedelic animation and rotating camera work. The alternative vibe is certainly amplified via the styling, orchestrated by the talented Kennedy Philip who combines subtle avant-garde pieces with baggy Y2K streetwear fashion. Unsurprisingly, BlaqBonez could not hold back from treating his audience to one of his many comic skits; B.B bossily instructs T.G Omari behind the lens, as in this technicolour parrallel universe, Omari's the star. Inevitably, cameos from the song's amazing featuring acts are included and cleverly placed, particularly with Amaarae, whose scenes were shot in Accra as opposed to Nigeria with her counterparts.
The waviness of this music video is difficult to NOT praise- the essential vibes have been reflected exceptionally and ensures ease for the audience to hop unto this trippy alté cruise.
(Shot by Walter Banks)
Gone are the days of seeking Western expertise to create projects; West African creatives and youth are non-hesitant in employing local talents and each other, feeding off the chemistry created through their shared identity and their determination to take control of and update the West African narrative in all its diversifying forms. And to think that this is only just the beginning of their take-over. Ha!
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