6 Artist-Directed Music Videos You Should Check Out

An emerging trend in Nigeria’s creative music scene with artists not only occupying the spotlight in front of the lens but also supervising the execution of their creative ideas behind the lens.

This new trend suggests that Nigerian artists are starting to understand the importance of their visual and brand storytelling. To ensure their artistic vision is maintained from conception to execution, these artists are directing their own videos. 

Six popular Nigerian musicians who have directed their own music videos are discussed in this article, along with their visual strategies and the effects of their dual creative roles.

Burna Boy – Last Last (2022)

Grammy-winning artist Burna Boy took creative control for his deeply personal record Last Last, a song that samples Toni Braxton’s He Wasn’t Man Enough. Released in 2022 as part of his Love, Damini album, the video presents an intimate look into Burna’s life and creative process.

Burna’s video was shot entirely in his home, with his toys and gadgets on full display, in an attempt to show the world his most authentic and creative self. The performer peppered in snippets from his global victories, travels, and wonderful times with those closest to him. Scenes from his historic performance at Madison Square Garden in New York City were the most noteworthy. 

The video strikes a balance between strength and sensitivity and employs close-up camera angles and warm colours, which complement the song’s message and portray Burna Boy at his most vulnerable yet authentic self.

Wizkid – Kese (2025)

For Kese, a song from his sixth album Morayo, Wizkid assumed directorial duties to create a visual experience that complements the song’s smooth, laid-back and exciting atmosphere. 

The music video is a JM film production and directed by Wizkid himself. The video opens in a theatre stage where Director Wiz watches a group of dancers deliver perfect intricate choreography. The mood shifts to a lively house party, where Wizkid joins a crowd, moving gracefully to the beat. Wizkid makes a strong visual statement in the final scene as he poses in an art gallery alongside finely dressed Black models, alluding to beauty, ancestry, and pride.

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Wizkid’s minimalist approach is evident in the video’s composition. Rather than employing elaborate set pieces, he focuses on creating visuals through careful positioning of performers and strategic lighting. The video features three primary settings with minimalist interior and lighting patterns that have become a signature element of Wizkid’s visual aesthetic. 

Rema – Charm (2023)

While Rema is known for pushing the boundaries musically, he brings this same boundary-pushing creativity to his directorial debut, creating a video that merges futuristic elements with cultural references. 

Perliks, who directs the video alongside Rema, adds to the charm of the visuals as the scenes alternate between silhouette images of Pride Evy, a dancer and video vixen. Add the high-end car, explosions and sexual innuendos throughout, and the result is a visual that perfectly complements the song’s infectious feeling.

The video was nominated in the Music Video of the Year category at the 17th Headies Award.

Tems – Me & You (2023)

Known for her powerful voice and compelling lyricism, Tems brings these same qualities to her directorial debut, creating visuals that feel as intimate and powerful as her vocal performances. 

Symbolic imagery features prominently throughout the video, most notably in sequences where Tems interacts with water, seemingly representing the fluidity and depth of emotional experience. Another recurring motif is the gradual transition from confined spaces to expansive natural landscapes, visualising the emotional liberation described in the lyrics.

The video has amassed over 60 million views at the time of this writing.

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Blaqbonez – Back in Uni (2022)

For Back in Uni, Blaqbonez brings his charismatic and humorous personality to his self-directed music video. The video features Blaqbonez playfully impersonating other Nigerian artists, including Burna Boy, Asake, and Wizkid.

The video, co-directed with Perliks Films, came about after Blaqbonez was quoted $30,000 by renowned director TG Omori—a price he couldn’t afford. This financial constraint led to a creative solution that garnered over one million views within 24 hours on YouTube.

Beyond just entertainment value, Blaqbonez reveals his keen understanding of Nigerian music video aesthetics through his impersonations as he accurately recreates distinctive visual styles of various artists—from Oxlade’s performance at Colors Studio to Burna Boy’s Dazed Magazine photoshoot look, complete with dark trousers and thick dreadlocks.

The video cleverly incorporates industry tensions, most notably in scenes referencing the Twitter dispute between Ruger and BNXN, where Blaqbonez acts as a mediator, saying, “You people should stop fighting; you can always share.” adding to the video’s viral appeal.

Blaqbonez delivers good-natured humour while showcasing his ability to think outside the box. The excellently colour-graded music video demonstrates his capacity to create engaging content that keeps his name in trending industry conversations, establishing him as a multifaceted creative in the Nigerian music scene.

Adekunle Gold – Obimo (2025)

As co-director of Obimo, Adekunle Gold creates a rich visual narrative that balances modern aesthetics with cultural elements. Drawing on his background in visual arts—Gold worked as a graphic designer before his music career—the video demonstrates a sophisticated understanding of visual composition and storytelling.

The video, co-directed with Ceojay, was strategically released just before Valentine’s Day 2025, with Obimo meaning “my heart” in Igbo. Rather than using actors, Adekunle Gold made the artistic choice to feature real couples and friends in their natural element, creating authentic moments of connection. The video showcases diverse relationships including American rapper couple Tobe and Fat Nwigwe with their families, Taye and Toni Tones, and several other real couples expressing love in its most genuine form.

Adekunle Gold’s direction shows his ability to create visuals that enhance the song’s lyrical content without overshadowing it. The video’s aesthetic complements the song’s message about love that feels like home, with a consistent visual tone that maintains elegance while capturing the spontaneous joy of real relationships.

This approach to visual storytelling mirrors Adekunle Gold’s artistic identity—thoughtful, refined, and emotionally resonant—establishing him as a director who understands how to translate musical emotion into compelling visual narratives.

Wizkid and Adekunle Gold have now joined Blaqbonez, Burna Boy, Rema and Tems as the only Nigerian artists to have so far dared to champion the creative direction of their music videos in recent times.