Falz’ Bahd, Baddo, Baddest video comes nearly a day apart from Olamide’s Who U Epp video and it almost seems like both rappers exchanged ideas when they decided to release the clips. Minor improvements from Olamide’s Who U Epp helps move the Falz’ effort up the scale from bland to averagely exciting.
Directed by Unlimited L.A, Bahd, Baddo Baddest was shot at the infamous Koga Studios, a Lagos based tv and film production company and this explains the dark room background.
Falz opens the video with the instrumental playing in the background and introduces Olamide and Davido who also feature on the single, against the backdrop of a rap music video cliche of a full house crowd, mouthing the playing song.
But Falz is not one known for a lack of Africanness and as his verse begins, shots of male vixens body-painted and shirtless like aboriginal men come into focus with fire blazing behind them. A few shots of three dancers in a dashiki variation dancing bata dance are also flashed alongside Falz’ coveted AMVCA award for best actor in a comedy.
Olamide is seen without his signature red cup thankfully, but save for still frames of vixens sensually running their hands across their own body like every Olamide video ever, the entire verse is as uneventful as its preceding audio.
Davido’s verse blandly sets after Olamide’s with still frames of video prop dollars and more unclad models. The self described omo baba olowo brags about his wealth and fires shots at his nemesis, Dele Momodu.
Save for the dancers who get some more screen time, the energetic instrumentation of the song is wasted on a joint dull demeanour by the two guest features. These two could’ve literally stayed at home with their voice overs playing in the background and we wouldn’t have noticed their absence.
Cliche music is one thing, cliche music videos are another. We can tolerate the same excuse for commercial music as the reason all we ever hear on radio is music about wealth and sex, but formulaic music videos with the same naked woman and prop wealth formats smack of a lack of creativity and indifference towards creating an artistry that will outlive its years.
Falz may have moved a step ahead of Olamide’s Who U Epp despite the similarities in lack of concept, but all the other music video cliches it incorporates from therein have all been overdone and abandoned.
For an artist who shot Soldier, the most talked about video of the year, returning to lazy industry rules for music videos doesn’t seem very much like a step in the right direction of a progressive artistry.