Hip-Hop & Soul N°449 – 2010s Music Videos

1 . Swarmz – Bally (w/ Tion Wayne)

“Bally” by Swarmz featuring Tion Wayne operates at the crossroads of UK rap and drill, delivering a hypnotic mix of gritty beats and streetwise storytelling.

The track climbed to number 32 on the UK Singles Chart, a testament to its infectious hooks and the undeniable chemistry between its collaborators.

Swarmz, who trades between boxing rings and recording studios, brings his signature melodic rap style, while Tion Wayne’s commanding presence adds weight to every bar.

Neither artist shies away from flexing their hard-earned lifestyle, with lyrics draped in bravado and references to the ubiquitous “bally” — a slang term for balaclava, emblematic of both anonymity and mystique within the drill scene.

The production, characterized by sharp hi-hats and a cavernous bassline, embodies the hallmarks of the genre while still leaning into a polished, mainstream-ready sound.

The accompanying music video stays true to drill’s visual tradition with its urban settings and assertive posturing, amplifying the track’s unrelenting energy.

While not groundbreaking, “Bally” exemplifies a calculated synergy of street authenticity and commercial appeal, securing its place as a staple in the evolving narrative of UK rap.

Lyrics >> More by the same : Instagram

2 . Jme – 96 F**Kries

“96 F**Kries” by Jme reflects his razor-sharp precision and fierce determination, a grime anthem that cuts through the noise with pulsating energy.

This track lands with an uncompromising bite, boasting minimalist production courtesy of Deeco that puts Jme’s rapid-fire delivery front and center.

The lyrics bristle with defiance, as Jme critiques phoniness and champions authenticity, all while asserting his position in the grime hierarchy.

Released in January 2012 and later included on the independently distributed album *Integrity>* in May 2015, the song bridges personal conviction with broader cultural commentary.

While its raw intensity didn’t catapult it into the mainstream, it climbed to a respectable UK Singles Chart position, peaking at 41.

The accompanying video mirrors the track’s straightforward ethos, emphasizing unfiltered performance over flashy distractions.

By the time *Integrity>* secured a Mercury Prize nomination, “96 F**Kries” had already demonstrated Jme’s ability to navigate grime’s uncompromising ethos with clarity and purpose.

This isn’t music that panders; it’s a sharp-edged statement, unapologetically true to the artist’s independent approach and refusal to bend to commercial conventions.

Lyrics >> More by the same : Twitter

3 . Kid Ink – Hotel (w/ Chris Brown)

“Hotel” by Kid Ink featuring Chris Brown lands squarely in the territory of club-ready anthems, blending Kid Ink’s effortless rap delivery with Chris Brown’s signature R&B hooks.

Originally released on February 3, 2015, as part of Ink’s third studio album, *Full Speed*, the track feels less like a standalone piece and more like an auxiliary addition to the duo’s proven collaborative formula, previously evidenced in hits like “Show Me.”

The song leans heavily into its nightlife aesthetic, with lyrics steeped in themes of late-night rendezvous and romantic entanglements.

While the production by The Featherstones shimmers with crisp beats and slick synth layers, it doesn’t stray far from the conventions of early-2010s hip-hop-pop crossovers popular at the time.

Positioned as “track 5” on the album, “Hotel” contributes to *Full Speed*’s overall narrative of fast living and hedonistic pursuits but seldom ventures into unexplored ground.

Charting modestly across territories, the song performs competently without making a seismic cultural impact, with stronger reception in Europe and decent streaming numbers to keep its momentum afloat.

The animated music video, released months later in June 2015, amplifies the party-centric vibe but offers little beyond visual indulgence to elevate the song’s profile.

In context, “Hotel” reflects Kid Ink’s growing penchant for multi-genre experimentation but sidesteps artistic risks in favor of dependability.

The track remains a polished, albeit formulaic, entry in both artists’ catalogs, appealing to a loyal fanbase but unlikely to sway skeptics or carve new paths in the genre’s timeline.

Featured on the 2015 album “Full Speed”.

Lyrics >> More by the same : Twitter

4 . Kendrick Lamar – Backseat Freestyle

“Backseat Freestyle” occupies a pivotal position in Kendrick Lamar’s sprawling narrative on *Good Kid, M.A.A.D City.*

Produced by Hit-Boy, the track’s stomping beat—originally pitched to Ciara—provides a relentless canvas for Lamar’s youthful alter ego to spit booming declarations of ambition and ego.

The song’s simplicity is deceptive, as its hyperbolic confidence contrasts sharply with the concept album’s overarching meditation on environment, choices, and consequences.

Lyrically, Lamar’s refrain—”All my life, I want money and power”—cuts to the core of teenage aspiration, while its expletive-laden bravado feels exaggerated to the point of parody, a calculated move by a rapper dissecting the duality of his younger self.

Its black-and-white music video, featuring Compton street imagery and Lamar’s fictionalized family, straddles the line between gritty realist documentary and surrealist character study.

While it falls shy of mainstream chart dominance, the track is inarguably a cultural artifact, finding its way into the 2019 film *Waves* and a viral Taylor Swift video that inadvertently cemented its pop-cultural relevance.

Musically, it’s a masterclass in momentum-building, as Hit-Boy’s production ensures there’s no room to breathe, aligning perfectly with Lamar’s unwavering delivery.

Critics often highlight the song as a performance piece, noting how its relentless energy becomes a highlight in Lamar’s live sets, where his furious cadence holds crowds captive.

Though taken on its own, it might sound like merely another chest-thumping rap anthem, within the album’s cinematic framework, it sharpens the tension between aspiration and authenticity.

“Backseat Freestyle” is less a standalone banger than a crucial sliver of a larger narrative, proof of Lamar’s knack for embedding depth beneath surface-level swagger.

Featured on the 2012 album “Good Kid, M.A.A.D City“.

Lyrics >> More by the same : Twitter

5 . B.O.B – I’ll Be In The Sky

“I’ll Be in the Sky” arrives as a peculiar blend of hip-hop and rock, with B.o.B wearing both hats as a rapper and singer, constructing something that feels deeply personal yet anthemic.

Originally released in 2008 as part of his mixtape *Who the F#*k Is B.o.B?*, the track later found a home as a bonus cut in European and Japanese versions of his debut album *B.o.B Presents: The Adventures of Bobby Ray* (2010).

The composition walks a curious line, mixing driving beats with airy synths and guitar elements, producing a sound elevated by its earnest message of overcoming adversity.

Lyrically, B.o.B checks introspection at the door and veers into an optimistic manifesto, showing a belief in his own resilience, but the sentiment sometimes teeters on the edge of “told-you-so” territory.

The track gained modest traction on several charts, including reaching #5 on the US Bubbling Under R&B/Hip-Hop chart, but its reach pales next to the mainstream ubiquity of “Airplanes” or “Nothin’ on You.”

What is intriguing here is how the youthful confidence in his voice contrasts with the darker self-doubt explored later in his discography, creating a snapshot of an artist still grappling with his identity at the time.

The music video, which debuted in November 2008, captures an unpolished but earnest energy, perfectly underscoring the song’s theme without over-engineering its visuals.

For all its charm and ambition, “I’ll Be in the Sky” feels more like an important stepping stone rather than a definitive statement, laying the foundation for larger, shinier pop-rap productions that followed.

Its placement in his catalog remains curious—not quite the cornerstone of his work but too earnest to be overlooked, standing as a time capsule of ambition tempered by youthful optimism.

Featured on the 2008 album “B.o.B Presents: The Adventures of Bobby Ray”.

Lyrics >> More by the same : Instagram

6 . 50 Cent – My Life (w/ Eminem, Adam Levine)

“My Life,” a 2012 collaboration between 50 Cent, Eminem, and Adam Levine, offers an introspective take on fame and its discontents.

The song finds 50 Cent reflecting on his career trajectory, addressing personal betrayals and fractured alliances within his G-Unit circle.

Eminem’s verse, characteristically confessional, delves into his relentless, almost punishing work ethic and the lingering doubts that shadowed his *Recovery* era.

Adam Levine’s hook is a melodic anchor, providing a polished contrast to the grit of Eminem and 50 Cent’s verses, while injecting a radio-friendly appeal into the track.

Musically, the beat, helmed by Symbolyc One, steers into moody, atmospheric territory with brooding keys and a cinematic quality that matches the track’s themes of alienation and pursuit.

Its accompanying music video, directed by Rich Lee, ramps up the drama with scenes of helicopters, urban decay, and sequences showcasing the trio navigating a dystopian landscape.

Chart-wise, the track performed admirably, peaking at number two in the UK and securing a strong international presence, although not quite reaching cultural ubiquity.

Despite its commercially calculated features, “My Life” carries an air of authenticity, offering a glimpse into the toll of public expectations on artists often mythologized as larger-than-life figures.

Featured on the 2012 album “Street King Immortal”.

Lyrics >> More by the same : Official Site

7 . J. Cole – 4 Your Eyez Only

J. Cole’s “4 Your Eyez Only” offers a deeply personal narrative framed as the final words of a man speaking to his daughter from beyond the grave.

The track, clocking in at eight minutes, meanders through layers of confession and reflection, blending the personal with the political in that signature J. Cole fashion—introspective yet unflinchingly direct.

Musically, the song leans on softened jazz influences and J. Cole’s trademark minimalist production, co-created with Elite.

Strings courtesy of Chargaux underscore the emotional heft, weaving throughout the composition like an unspoken ache.

As with the rest of the album, it’s more conversation than grandstanding, a creative gamble in an era of hooks and repeatability.

Tracks like “Neighbors” provide glimpses of Cole’s interplay with sociopolitical critiques, but “4 Your Eyez Only” veers fully inward, focusing on legacy and survival.

It’s a closing statement that eschews commercial ambition for something rawer, even if that risks alienating the casual listener.

The accompanying HBO documentary adds context but also feels unnecessary—this album thrives in its intimacy, where too much explanation threatens to dilute its quiet impact.

Featured on the 2016 album “4 Your Eyez Only”.

Lyrics >> More by the same : Official Site

8 . Skepta – Cross My Heart (w/ Preeya Kalidas)

Skepta’s “Cross My Heart,” featuring Preeya Kalidas, occupies a curious space within the grime landscape, operating as a pop-inflected detour that still clings to the streets of its genre’s roots.

The track hails from Skepta’s 2011 album *Doin’ It Again*—his first major label outing—which finds him balancing raw grime energy with commercial polish, as seen in this collaboration.

“Cross My Heart” leans on Kalidas’ smooth vocals to soften Skepta’s sharp delivery, crafting a track that feels engineered for radio play while maintaining a trace of his underground ethos.

Chartwise, it flirts with success, peaking at 31 on the UK Singles Chart and lingering in the Official Downloads Chart for several weeks, a respectable yet unremarkable showing.

Sonically, the song hovers in the crossover territory, toggling between grime’s aggression and a polished R&B sensibility, bolstered by Kalidas’ melodic lines.

Its lyrics tread familiar Skepta ground, blending introspection with street-smart bravado, though the production skirts generic territory, lacking the immediacy of his harder-edged tracks.

The album itself debuts respectably at 19 on the UK Albums Chart, indicative of Skepta’s growing mainstream presence during this career phase.

On-screen, a probable music video exists, given the promotional mechanic of the time, likely doubling down on the partnership’s visual appeal.

For what it is, “Cross My Heart” serves as a snapshot of Skepta’s balancing act between grime purism and commercial exploration—a moment of compromise, neither a standout triumph nor a misstep.

Lyrics >> More by the same : Official Site

9 . Sage The Gemini – Gas Pedal (w/ Iamsu!)

“Gas Pedal” by Sage the Gemini, featuring Iamsu!, slides onto the scene in 2013 with a stripped-down production style that leans heavily on repetition and bass-driven beats.

The track captures the essence of Bay Area hip-hop’s flair, embedding itself in the aesthetic of the “ratchet music” movement while borrowing rhythmic inspiration from Clyde Carson’s “Slow Down.”

Commercially, it hits a solid stride, breaking into the *Billboard* Hot 100’s upper half, securing Sage his first top 40 spot, and eventually bagging 3× Platinum status in the U.S.

An undeniable part of its success stems from its cultural permeation—fueled by viral dance trends across platforms like Vine, a factor that turned minimalism into momentum.

Visually, the music video delivers a dimly lit, tuxedo-clad spectacle, marrying subdued opulence with the song’s understated vibe, while introducing some vaguely surreal elements, like the red-veiled performer who serves as a peculiar visual anchor.

The Justin Bieber remix tossed into the mix in late 2013 adds a sprinkle of mainstream clout, though it arguably dampens the raw charm of the original’s Bay Area roots.

While “Gas Pedal” doesn’t aim for depth or thematic complexity, it taps into a groove-driven immediacy that resonates—unpretentious, catchy, and distinctly of its time.

It exists in a sonic space where simplicity doubles as identity, cementing the track as a timestamp of West Coast rap’s ongoing evolution during the early 2010s.

Featured on the 2013 album “Remember Me”.

Lyrics >> More by the same : Official Site

10 . Lil Wayne – Drop The World (w/ Eminem)

“Drop The World” from Lil Wayne’s seventh studio album, *Rebirth,* is a curious beast—a rap-rock experiment trying to juggle defiance and vulnerability beneath its heavy beats and aggressive delivery.

Released in late December 2009, it carries the weight of Eminem’s fierce verse, Lil Wayne’s signature snarl, and a production by Hit-Boy and Chase N. Cashe that quietly nods toward rock’s raw energy without fully committing to it.

The track peaks with Eminem’s onslaught of syllables, a verbal freight train cutting through the track’s industrial-strength drum lines and moody synth undertones.

While Eminem’s verse elevates its intensity, Wayne’s delivery veers between pointed and melodramatic, oscillating between fiery rebellion and a self-aware shrug aimed at the cold world around him.

The music video, directed by Chris Robinson, doubles down on these emotions, littering the screen with riots, skateboards, and smog-laden wreckage—visuals that feel grittily cathartic but verging on cliché.

It’s the kind of song that hits hard in the right moment, less elegantly constructed than defiantly loud, exactly what you’d expect from this collision of genre-hopping ambition and Lil Wayne’s offbeat sensibilities.

“Drop The World” lands somewhere between a battle cry and an existential lament—a compelling mess on an album that prides itself on taking swings, even if not all connect cleanly.

Featured on the 2009 album “Rebirth”.

Lyrics >> More by the same : Twitter

11 . Chris Brown – Party (w/ Usher & Gucci Mane)

“Party” by Chris Brown featuring Usher and Gucci Mane bursts onto the scene as a slick combination of R&B, hip-hop, and mainstream pop, released on December 16, 2016, as the second single from Chris Brown’s sprawling eighth studio album, *Heartbreak on a Full Moon*.

Produced by The Audibles, the track leans on an infectious beat and a pulsating groove that sets the perfect foundation for Brown’s breezy hook, Usher’s effortless charisma, and Gucci Mane’s characteristically mellow yet commanding verse, marking one of his post-prison comeback moments.

The song peaked at #40 on the Billboard Hot 100 and performed well across international charts, bolstered by heavy rotation on rhythmic and urban contemporary radio stations.

The music video, co-directed by Chris Brown and Riveting Entertainment, feels like a millennial fever dream: a technicolor warehouse rave that features appearances from viral dancers like Kida the Great and Ayo & Teo, all choreographed with a frenetic energy that aligns perfectly with the song’s theme.

Usher steals a visual spotlight sliding down an escalator with nonchalant grace—a move almost as smooth as his delivery on the track—while also flashing his Cleveland Cavaliers Championship ring, a gesture hovering between cockiness and celebratory indulgence.

Meanwhile, Gucci Mane’s verse maintains his signature laid-back Southern flair, marking a sharp contrast to the frenzied energy of the video. His appearance reflects the post-2016 recalibration of his career, stepping into a phase of polished, mainstream visibility.

While undeniably catchy, “Party” serves more as an enjoyable artifact of the collaborative hit machine rather than a groundbreaking artistic achievement. Each artist plays their part with precision but little risk, a tradeoff that keeps the song strictly within the bounds of the expected.

The track’s certifications, including RIAA 3× Platinum status in the US and similar accolades in other regions, underline its commercial success rather than its cultural longevity. Although memorable for its flash and polish, it stands more as a snapshot of pop synergy than a lasting statement in any of the artists’ catalogs.

Featured on the 2016 album “Heartbreak on a Full Moon”.

Lyrics >> More by the same : Official Site

12 . Diddy – Dirty Money, Coming Home (w/ Skylar Grey)

“Coming Home” by Diddy – Dirty Money featuring Skylar Grey lands as a deeply personal track amidst the slick production of the *Last Train to Paris* album.

Co-written by an ensemble including Skylar Grey, Jay-Z, Alex da Kid, and J. Cole, the song threads introspection with glossy hip-hop beats, delivering a melodically haunting pop ballad.

The production, headed by Alex da Kid, leans on a stripped-down, downtempo aesthetic, leaving space for Grey’s fragile yet commanding hook to take center stage.

Diddy’s verses grapple with loss, redemption, and the weight of his own public persona, interlacing moments referencing The Notorious B.I.G. and his own turbulent career trajectory.

While undeniably earnest, some might argue that the rawness of the lyrics occasionally feels packaged for wide appeal rather than intimate confession.

The music video, directed by Rich Lee, pulls heavy on cinematic imagery, setting the trio adrift in desolate yet visually stunning desert landscapes textured with ruins, ashes, and the longing for a grounded homecoming.

Released under Bad Boy and Interscope, the track marked a commercial peak, charting impressively across global territories like Austria, the UK, and New Zealand, though it stopped just shy of Billboard’s top ten at No. 11.

The song’s ubiquity extended to performances at prominent events like the American Music Awards and mainstream television shows, embedding it in 2010’s pop-culture orbit.

Despite its success, detractors may note the occasional predictability in its glossy presentation, a foil to its otherwise compelling narrative of disarming vulnerability.

As a commercial single, “Coming Home” finds a delicate balance between heartfelt self-revelation and radio-friendliness, securing its place as a standout in Diddy – Dirty Money’s brief but impactful discography.

Featured on the 2010 album “Last Train to Paris”.

Lyrics >> More by the same : Facebook