Although they have worked together for a while on other projects, Nathan Miller has not directed a J Hus video before - until now. For Hus's collab with Burna Boy, the pair crashed one of the biggest gigs this summer - Burna's huge show at the London Stadium in June - with Miller using all of his considerable documentary-making skills to make an electric video for the track.As he explains below, this was seat-of-the-pants stuff as Miller and his small camera team grabbed footage of the pair backstage at the show, and on-stage performing the track - with other candid footage of Hus partying with pals in between.Miller says: "I've worked with Hus for a few years now, shooting his documentary; we've built a great connection and have had a lot of good times over the years. Surprisingly, I had never been asked to work on a promo until now!"We wanted to maintain a doco feel, so we kept the crew to a minimum and simply filmed the day unfolding. The bulk of the video was shot at Burna's show in London, and we captured many candid moments. Burna Boy stepped off stage and joined us in the back to do a quick take before having to get back out there. It felt very eventful!"We were planning to film the finale at Burna's afterparty that evening, but that got cancelled last minute. So Hus, his friends, and I roamed around London heading to other parties. The party shots that made the cut were from his album launch. It worked well, I think. It kept the momentum up throughout. We graded the vid for colour, but the team preferred black and white in the end. I think it looks great and was a pleasure to work on!"

Milo Blake's takes Obangjayar into an Afropop direction, with a noir twist, in the video for the pulsating Tinko Tinko (Don't Play Me For a Fool).Obongjayar is working a nightshift at tech company OB Dream Corp - no relation to a certain repping agency - and while on a break he switches on a distinctly old-school desktop and finds a viral video that becomes his portal into a twisted mirror image of his own world.In this alternate dimension, Obangjayar is transformed into a pop artist, performing the song, and accompanied in the same office by dancers. As the views skyrocket on the viral video, it plays on how technology and viral trends consume our lives. Eventually the lines between the digital and real world become completely blurred - and the hardware itself takes on a organic quality.It's an intriguing showcase for the artist aka Steven Umoh, which shows how he represents an exciting new take on Afropop and Afrobeat - and also shows Milo Blake's also moving into exciting new territory as a video director.

Meji Alabi directs an intense and timely exploration of violence and inequality, in his video for Burna Boy's Monsters You Made, featuring Chris Martin. Having watched a devastating montage of traumatic events, a group of soldiers - led by Burna Boy - are training to revolt against the systems and people in power. The concept encapsulates the themes of the track, and is a timely meditation on an unjust society, where violence is bred from birth and is a matter of life and death for many people.

Adriaan Louw directs an absorbing 'day in the life' style film for Stefflon Don's Can't Let You Go. Across a series of aspirational vignettes, the British rapper pays homage to the Afrobeat genre, through slick visuals, choreography and art direction. Taking inspiration from Nollywood films and the artist's real life, the colourful promo is an ambitious trip through various personas and characters, connected through Stefflon Don's infectious energy and performance.

Meji Alabi has directed several videos for Burna Boy, including some proper blockbusters. But have any been as powerful as this?In visualising the sombre sentiments of the Stormzy-featured Real Life, Burna Boy gave Alabi licence to tell a story about the difficulties for Afro-Carribean people in London now. The result is a tour de force; a compelling mini-drama where the complexity of people's lives, navigating what is 'right' and 'wrong', is highlighted by the different routes taken by twin brothers, and a pointless murder. With a standout performances by Devontay and Dijon Graham as the brothers, Alabi creates a world on a West London estate populated with believable characters, sketched into life by his direction and Jaime Ackroyd's camera. Most painfully of all, Alabi stays firmly with the victim, as he dies alone. It is a departure for the director who has become one of the most adept at creating visually exciting pop videos, but a very confident and cinematic one.Alabi even pauses the drama to allow a spoken word section, written and delivered by George The Poet, to add weight to the whole piece, that already includes strong performance elements from Burna Boy and Stormzy. Powerful indeed.

He's in Lagos, and she's in London, but WizKid can still make the girl move, in Adriaan Louw's latest video for the Afrobeat star.The second videos for two new WizKid tracks - following Ghetto Love, released in September - the concept of the video for Joro is based on the idea that WizKid uses his music to create a spiritual connection with people around the world. And in this case, he connects with a female protagonist in London, causing her to progressively unwind her performance in a series of beautifully captured dance moves.This concept is symbolic of the growth and power that West African music is currently having on a global scale, and at the same time also showcases its roots within London. The Joro video features London-based actress and dancer Georgia Curtis - herself of Nigerian and Spanish descent - who elegantly connects with WizKid's music, firstly on a deserted nighttime street, then in a beauty parlour, and finally in a more theatrical set-up.