Beyond being visual accompaniments, music videos serve as the perfect medium to create memorable worlds for songs to exist in. When properly thought out and well-executed, music videos use narratives and other world-building techniques for proper nuance, etching the song further into the minds of viewers and listeners through entertainment and intrigue. One good examply of this, is the recently released video for Show Dem Camp’s Buju-assisted bop, “Do Me Nice”.
One of the standout cuts off SDC’s late 2019 studio album, ‘Palmwine Express’, “Do Me Nice” leans directly into the groove-driven, breezy atmosphere that has come to define the rap duo’s ‘Palmwine Music’ series. Like Tec quips at the end of the verse: he and Ghost came with banter, Buju brought the lamba, while producer Spax came through with the banger.
Instead of putting out a set of visuals that plays heavily into the song’s summery feel, though, SDC and the video’s director, Viktor Awuse, flip the script into a pulsating thriller that involves a femme fatale figure, played by Seyi Shay.
“A lot of people are used to seeing SDC heavy on vibing in their music video, it’s always all peachy and calm”, Viktor says, aptly describing the long-runningaesthetics of the videos off their PM series. “I like that vibe, but for me it made sense to have some sort of a love triangle that acts a gateway to different world—basically, show SDC in different but captivating light.” Between the heated conversations of the interrogation scene, the haunting and sultry lighting and its overall packaging, Viktor and the creative team achieve their aim and more, putting together a video that is captivating, distinct from most afropop videos around and instantly memorable.
For many, the video for “Do Me Nice” will be their introduction to Viktor Awuse, and it’s a great entry point to a director who is working his way up the ladder as a bonafide filmmaker. Given what we’ve seen, it’s defintiely interesting to consider the fact that that the Port Harcourt-based creative doesn’t have any formal filmmaking training. “I studied Product Design in Uni, so it was when I was doing my Master’s degree that I fell in love with film properly”, Viktor explains over the phone. “I’ve always had an interest in film, but film and photography really caught me during that period, and I was able to do a project on mental health. From that point on, I’ve been applying myself through the love of it.”
From his work on the video for AYLØ’s “Still II”, to cutting Santi’s phenomenal appearance on Boiler Room’s Energy series, as well as other independent projects, Viktor’s strength is in his passion and flair for showing stories in idiosyncratic, yet, widely entrancing ways. The video for “Do Me Nice” is Viktor Awuse’s entrance into the afropop mainstream, however, his plan is to leverage this opening for more excellent work from him—and his Prassars collective—in the future.
In a bid to get to know him better, we spoke to Viktor for a breakdown and creative peek into the video “Do Me Nice”.
NATIVE: How did you link up with Show Dem Camp?
Viktor: That was through Ebuka Nwobu (the video producer for “Do Me Nice”). The first time I saw him was the set for Santi and Odunsi’s Boiler Room appearance, he was raging and bouncing all through so he might not remember this. But we met properly on the video set for Gigi Atlantis’ “Wahala on the Rocks”, he produced that video as well. Around the end of February, he hit me up for some other jobs and we discussed some mad ideas for other people’s videos he thought we could work on.
I’ve been a big SDC fan from time, they actually introduced me to Ladipoe and BOJ all the way from “Feel Alright”, that was my shit. When he sent in the track, I knew I wanted to do the video ‘cos these are artists I really like, and the song is a banger. In like two days, we already had something for it, and it took less than two weeks to shoot it, just before the Coronavirus really hit Nigeria—I think we were amongst those on the last flights to Port Harcourt.
What was it like being on set with artists you revere?
Funny enough, I won’t say I get star-struck a lot—I’m very professional—but I was star-struck a lot on that day. The thing is, you meet some people and you won’t expect to meet some big stars, but it hits different. I’ve known of these guys for like ten years, they were the thriving rap guys and they still haven’t really changed. It was really nice to work on that project, you know, and the reception has been great so far. It’s not every day you work with your heroes and a fantastic producer. They could have used so many people in Lagos, but they brought us in and paid, which is a huge win. I consider it a blessing.
What was the inspiration behind the “Do Me Nice” video?
I think a lot of people are used to seeing SDC heavy on vibing in their music video, it’s always all peachy and calm. I like that vibe, but for me it made sense to have some sort of a love triangle that acts a gateway to different world—basically, show SDC in different but captivating light. It has more of a gangster feel, and we wanted it to be like a short movie with love, lust and chaos as the themes.
I am very big on storytelling, I feel like that’s my strongest suit—I like to tell stories and I’m not scared to get very creative.
I actually want to get more gory in general, ‘cause I believe that love, like everything in life, is gory. I believe there’s a tension we skip in film, ‘cause telling someone ‘I Love you’ can be harsher in reality, so I feel like this video was perfect for me. I’m so happy that they brought Seyi Shay in, she was the perfect surprise.
Did you know Seyi Shay was going to be in the video before you came in to shoot?
I swear to God, I did not know—and it was perfect. It was one of those things that happened on set that let me know that all of this was going to work. I remember being there that day and Ebuka was like, ‘Seyi Shay is going to be the main woman’. Just knowing that made me feel like everything was going to run smoothly.
That’s fire. Was that the mood generally?
It was all so easy, man. Normally, experiences like these might bring some nerves, but I felt at ease throughout. There were so many great people around and everything fell into place nicely. Buju was a dream to work with; SDC were just their chill, OG selves. Immediately they sat at the table and started going at it, it was like I was shooting a proper film. The way I work, I like long takes, and once we started shooting there were no need for cuts—everybody went together. They brought in great people, and there was unreal harmony all through.
What were the significance of the other settings that weren’t in the interrogation room?
Yes. There are three decks in the story, the first is Tec’s and that happens after he blows himself up. That happens in a noir shade room, where’s in like a dreamy place with a woman’s figure behind. I can’t remember what exactly brought me to that idea, but I’ve always wanted to do silhouette work—it kinda takes you away from reality, which is the point of that setting. It was about creating three different worlds, so that one had bright light.
The second one is Buju, there’s this mild blur and you see the girl of his dreams, which is Seyi Shay at that point. Then the third one—Ghost’s—is a lot more gory, you don’t even really see him, you just see the flashbacks, and the blood splatters. So it’s the viewer experiencing being next to them around that table and also following each person into a different space. The idea was bringing dreamworlds to life, and our set designer, Desola Falomo, did a beautiful job—major shout-out to her.
Tec also sometimes works as music video director [under the moniker, King Davies]. Was he intrusive at all or was he very hands off?
Tec didn’t say anything while we were shooting. It wasn’t until after we had done the initial cuts that they got back to me, and there were very few things they wanted to change. If anything, he just had a positive aura on set. I think there was one or two things he saw that he just hinted at, it wasn’t anything corrective. Tec and Ghost were on point, man, like they get it.
Shooting happened in a day. We started around 5pm on a Saturday, and the last people to leave, which were Tec and Ghost, left around 3:30am the following morning—that’s almost twelve hours. Including prep work, though, it was over a day. The video that’s out now was ready in two weeks. We even did some other cuts, like there were like three other ways to cut it—we had a lot of cool stuff, but we had to make sure we out together what was best for the artists/clients.
How important is this for you in terms of future opportunities?
I spoke to Tec a few days ago before the video came out, and I was telling him that he’s opened up so many things for us. As I’m talking to you, it could easily be another director, and I was telling him that I will never forget this break he has given us, till the day I die. I will forever rep SDC, and anything they want from us video-wise, we’ll find a way to figure it out. They gave us the first music video money in Lagos—that’s a big break, you know.
We’re already planning on where we want to go next—some we’ve even executed—and we just want to push the boundaries of artists telling stories in their music. We’re in that generation already, ‘cos there’s guys like Uax, Falomo and TSE. It’s an ongoing wave, and the videos won’t necessarily be flashy but they’d be as significant as big budget cuts.
I have to point out that Santi’s “Gangsta Fear” video was one that changed the landscape, me and the guys in my team talk about that shit all the time. It’s a very Nigerian video but it’s super creative. That’s what myself and Prassars in general want to do, we want to make stuff that’s Nigerian and also has elements of controlled chaos. It’s all about that, man. The future is bright, man. SDC have done their part, it’s up to us to fuck it up, and I know that we will not do that.
[Featured Image Credits: YouTube/Show Dem Camp]
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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
Characterized by his charismatic approach, lyricism, and nonconformity, Daddy Lumba reshaped the music and...
Death is said to be the end of all things, but for some, it is just a process of immortalization. That is the...
Death is said to be the end of all things, but for some, it is just a process of immortalization. That is the case for legendary Ghanaian artist Charles Kwadwo Fosuh, also known as Daddy Lumba. On the 26th of July, 2025, reports of his demise spread across the world, causing doubts and confusion until his family released an official statement through its lawyer, Fati Ali Yallah, Esq., confirming the devastating news.
For six decades, DL, as he is affectionately referred to, has been a son, a husband, a father, an artist, a teacher, an innovator, and a cultural icon. The accumulation of the lives he lived has earned him the admiration and respect of Ghanaians and music lovers around the world for generations.
Daddy Lumba started exploring his musical talent in the 1980s during his time in secondary school, eventually emerging as the lead of the school choir. Years later, during his stay in Germany, he would be introduced to Highlife music through his friendship and partnership with Nana Acheampong. The duo would form the group “Lumba Brothers” and work on the project ‘Yee Ye, aka Akwantuom,’ which was released in 1989. After the group’s breakup, he launched his solo career with his 1990 solo debut album, ‘Obi Ate Meso Buo.’
Daddy Lumba would go on to have an illustrious career. Credited with over 30 albums and more than 200 songs, his seminal works included “Playboy,” Mesom Jesus,” “Aben Wo Aha,” Poison,” and “Sika,” to name a few. Characterized by his charismatic approach, lyricism, and nonconformity, Daddy Lumba reshaped the music and art scene in Ghana. His control over his native language, Twi, allowed him to pen songs that spoke directly to the soul of the listener. His proverbial lyrics and addictive melodies made his songs easy listens for those who didn’t even fully understand the languages he sang in. He composed songs that served as a guide for people across the different facets of life.
Raised in a gospel background, Daddy Lumba blessed the world with multiple gospel albums that showed his admiration for God and were a testament to his past as a choir leader. In an interesting twist of events, he also had songs that dissected his thoughts on lust, love, and relationships and provided motivation and hope, as well as songs that would get you dancing. During his active years, Daddy Lumba’s songs ran wild across the media, streets, pubs, weddings, and funerals, and echoed from home to home across Accra to Europe.
As a student of Highlife, he ensured the growth and evolution of the sound through his songs and albums over the years. He mastered the craft so well that he would be instrumental in ushering in Borga/Burger Highlife, a sub-genre of Highlife that was steeped in contemporary influences and defined by its funky essence. Borga Highlife was not just in the sound but was also evident in his visual identity. He curated music and art in a style that bewildered people at the time. In today’s world, he would have been described as alté.
Beyond music, his influence on Ghanaian pop culture was immense. It was rooted in nonconformity and the deconstruction of stereotypes. While aspects of his music appealed to Ghana’s conservative outlook, he was also regarded by some as a moral miscreant. As the moral police came for his sensual lyrics and subversive influence on the youth, the love of the music from the wider public was louder.
Where traditional media tried to bury his songs, the masses gave them more life at parties, pubs, and any gatherings where music could be played. Around the early 2000s, Daddy Lumba would come to be accepted as a symbol of modern Ghanaian culture, eventually beating the system by finding a balance that appealed to those who wanted songs that mirrored their sensuality, youthfulness, and freedom without alienating the conservative faction of the country.
He introduced a swagger and flair to Highlife that many were not accustomed to. Winning over not just the older generation but also young people, both at home and abroad. From his many hairstyles–be it a fade, cornrows, or permed hair–he always stood out. Coupled with eye-catching aesthetics, as seen in his photos and music videos, he provided a visual blueprint that rising acts today still draw inspiration from.
Regardless of the genre, theme, or style, Daddy Lumba kept topping charts and winning over listeners. He wore many hats and played diverse roles, and executed all of them brilliantly. It did not matter if he was paying homage to his long-lost love on “Theresa,” bidding farewell on “Makra Mo,” singing praises to God on “Eye N’adom,” craving intimacy on “Pony/Enko Den,” or even preaching diversity on “Bubra,” it all came together as long as it was orchestrated by Daddy Lumba.
His songs not only mirrored his own experiences but also provided a sonic reflection of the lived experiences of the people who listened to his music. He was an artist for the people, and he never shied away from making his fans feel loved and heard.. DL was so enshrouded in Ghanaian popular culture that it is no surprise how many momentous Ghanaian occasions and memories of the last 30 years are intrinsically tied to his songs.
In a country where people often get backlash for showing their political affiliations, Lumba was appreciated more when he took a public stance on supporting a political party. He was so loved that his campaign song “Nana Winner” for the New Patriotic Party (NPP) is played at non-partisan events like raves and parties to a wild reception and excitement. Recognizing his influence, he always platformed talents as best as he could. He nurtured and mentored several artists. Through his album ‘Wo Ho Kyere’, he introduced Ofori Amponsah, his protégé, to the wider public. Ofori would go on to become one of Ghana’s most celebrated artists with hits like “Otolege,” “Odwo,” and “Emmanuella.” Daddy Lumba also mentored artists like Felix Owusu, Borax, and Ateaa Tina, among others.
While his peers were left behind with the advent of music digitalization, Lumba stayed with the times. His music became the stuff of urban legend and was among some of the most-streamed Ghanaian music across platforms in recent times. There were frequent conversations, stories, and breakdowns of his songs on social media, steered by a generation of older listeners, handing down a lived-in perspective for a younger generation. His career is a testament to the fact that good music will always stand the test of time.
When news broke of his death on the 26th of July, 2025, an entire nation fell into a state of mourning. Artists, politicians, and various individuals took to social media to share their condolences with the bereaved family. In a heartfelt message on his Facebook page, his old friend, Nana Acheampong, shared a farewell note to his old friend and brother: “You have indeed done what the creator brought you on earth to do, you will forever inspire generations,” he wrote in a post on Facebook.
Daddy Lumba lived an exciting life and had an enviable career working with artists of different eras. From Pat Thomas to Samini, Kwabena Kwabena, Okyeame Kwame, and Sarkodie, he collaborated with several acts. He also won awards and performed in multiple countries. However, his biggest win remains earning the love of an entire nation. Perhaps the most loved Ghanaian artist across generations, people were born to his music and buried with his music, completing the lifetime cycle with Daddy Lumba’s music booming in the background.
There have been public calls for a state burial for Daddy Lumba, with a vigil already planned for August 2, 2025, at Independence Square, Accra. Lumba’s legacy as an innovator and trailblazer will be etched in Ghanaian music history and the hearts of listeners across the world. He was a strong believer that he was just biding his time on earth, doing his best till it was time to leave.
While he departs the world, his songs and messages will continue to live on throughout time.
Street-pop star, Asake, has released a surprise new single titled “BADMAN GANSTA.” Produced by super...
Street-pop star, Asake, has released a surprise new single titled “BADMAN GANSTA.” Produced by super producer, P.Priime, the single, Asake’s second of the year, arrives with a crisp black and white feature and a stellar guest verse from French rapper and singer Tiakola.
The singer posted the full music video–a monochromatic montage of dazzling shots and scenes of his opulent lifestyle–across his different social media handles on Thursday evening, July 24, with a caption that read, ‘The World Of Money.’
Earlier in June, the ex-YBNL star announced a new album titled ‘Money.’ A few months before that, he released a loosie titled “Military” and then “WHY LOVE,” his first official single under his new imprint Giran Republic. “Military” served as a bookend to the first arc of his impressive career as much as an announcement of a new era, while “WHY LOVE” officially kicked off season two.
Following the release of “WHY LOVE,” Asake has also featured on songs like Olamide’s “99,” J Hus’ “Gold”, and Young Jonn’s “Che Che,” delivering standout verses that favour a melodious, laid-back approach as opposed to the spirited, fast-paced style that earned him success early on. “BADMAN GANSTA” also excels with this approach, as Asake’s melodious musings about his current lifestyle dovetail nicely with Tiakola’s equally sturdy verse over a plush beat that samples Amerie’s 2005 classic “1 Thing.”
With Asake releasing three albums in as many years, it’s not unreasonable to assume ‘Money’ might arrivebefore the end of the year. There’s also the possibility that he might be willing to take his time a little more now, seeing as he his under his imprint now.
Whatever the case may be, ‘Money’ is likely to arrive sooner rather than later, and it will be fascinating to see what other aces Asake has up his sleeves.
Ayra Starr has released her highly anticipated single “Hot Body.” The Mavin popstar has been teasing...
Ayra Starr has released her highly anticipated single “Hot Body.”
The Mavin popstar has been teasing the new single for a few weeks now, posting multiple promotional videos across social media that built up significant excitement for her third official release of the year. The release of “Hot Body” comes on the heels of recent reports that confirmed the Grammy-nominated singer had officially joined Roc Nation’s roster, the American music label, entertainment, and sports services company founded by rapper and business mogul JAY-Z.
Earlier in February, Ayra Starr shared “All The Love,” a sumptuous Afropop ballad produced by labelmate Johnny Drille and Teemode, before releasing the sleek and sensual Wizkid-assisted “Gimmie Dat” about months later. In that time period, the singer picked up two awards at the 2025 MOBO Awards for Best African Music Act and Best International Act before also clinching her first BET award for Best International Act in June.
It was recently announced that the pop singer would be joining Coldplay on the UK leg of their Music Of The Spheres World Tour between August to September, and her impressive year continues with the release of “Hot Body.” Once again, teaming up with close collaborator Ragee and UK production duo The Elements, Ayra Starr manages to deliver a sweetly erotic summer jam that’s sure to elicit plenty lip-biting, hip gyrating, and flirty winks. “Look what a hot body can do,” she sings repeatedly, almost like an enchantress performing a magic trick.
With her current deal with Mavin and Universal Music still running and the recent confirmation of her management deal with Roc Nation, it’s safe to assume that “Hot Body” might garner significant momentum both at home and abroad. Outside of her music, the singer recently wrapped up the shooting of the film adaptation of Tomi Adeyemi’s Children of Blood and Bone which is reportedly set for release in early 2027.