Music video grew to play a paramount role in music marketing and artiste image making. This has been since the launch of U.S Video Channel MTV in 1981. The outlet for video material began the era of 24-hour-a-day music on television. And with that comes the increasing demand to produce professional music videos.
Of course music videos are meant to reiterate the idea of the music artiste in a way which the song itself might not have totally done justice to. This is done by bringing the notational inkling of the artiste and the creative envision of the director together towards echoing the message of the music.
Music videos tell stories. And the impressiveness of such stories depends on the artiste’s idea and the creativity of the director to mobilize all resources necessary for a successful and banging visual spree.
However, we’ve had few cases of deviance in music video especially where the videos have little or no correlation with the original theme of the song.
With Kana, Olamide joins the league of Backstreet Boys in ‘I want it that way’, TLC in ‘No Scrubs’, Britney Spears in ‘Hit Me Baby One More Time’, Outkast in ‘The Whole World’, Missy Elliot in ‘Get Your Freak On’, Fatboy Slim in ‘Weapon of Choice’, in creating music videos that has nothing to do with the theme of the song.
KANA – THE VIDEO
There was an absolute expression of confusion with disjointed lyrics and choruses in the song. And as if that wasn’t enough to contend with, Olamide intensified the pseudo-exploration of creative space in the video.
The absence of Wizkid in the video sparked another controversial discussion of Olamide being ‘Draked’ by Wizkid just like Drake did to Wizkid too in his 2017 Sounds from the Other Side track – ‘Come Closer’.
There are however more to notice in the music video than Wizkid’s absence. It tells a different story from the song. Quite far away from the song, it tells the story of Gang wars with three girls obviously from Olamide’s gang bumping on a Chinese restaurant brandishing fully loaded guns.
The girls attacked another gang who were gambling and carted away a bag filled with money in a manner that suggests armed robbery. The robbed gang however discovered that the Olamide’s gang was behind the robbery and launched a reprisal attack.
Exchange of gunfire ensued in an underground club and most of those involved were shot dead except Olamide and one of the girls from his gang. The made out of the club with the money-filled bag and Olamide triggered an explosion therein after leaving.
It all looked like a Hollywood movie scene with the actions and excessive display of dangerous weapons. However, one could still notice few misfits in the video.
- Just like in Nollywood, the girls from Olamide’s gang entered the restaurant which has an adjourning club flaunting guns. Yet none of the people eating at the restaurant flinched a bit.
- A supposed pass was given to the elderly woman who was presumed to be an attendant at the restaurant. After this the girls were granted entry to the club and that suggest apparent complicity to crime.
- During the reprisal attack, after spotting Olamide, the other gang had the chance to shot him and his gang dead but they hesitated. He brought out his gun but they still won’t shot until he fired. Common, that’s quite improbable.
Notwithstanding, the video was separately a perfect shot but imperfect for the song. Unlike leading music video director Clarence Peters, who is known for his penchant for black, Sesan Ogunro who directed the video did an awesome job for the concept he is tasked to create. That is if the concept of the video wasn’t his. Of course, I don’t think the young man would consider should creative aberration.
The production was top-notch for an action-packed visual concept like that. It was shot just like a real-time movie. The lightning was superb and the effects were bang. Especially with the bullet piercing the table used as a shield by Olamide’s gang. And also in the consequent explosion at the end of the video.
However, as perfect as the shot was, it remains a total misfit for the song itself. The video refused to lend the song the creative prominence it needed. Topping the list of questions to ask is why Olamide considered such visual concept. Could it be to overshadows the absence of Wizkid in the video in emerging discussions. Or he simply wanted to explore self-expression beyond imaginary box.
What’s your take Guys?