Hip-Hop & Soul N°455 – 2010s Music Videos

1 . Stormzy – Cold

“Cold” emerges as a brisk, icy cut from Stormzy’s debut album, “Gang Signs & Prayer,” embodying the grime genre with brevity and purpose at 2:36.

Released on 24 February 2017, this Swifta Beater-produced track barely lingers yet sticks in the memory, peaking at number 21 on the UK Singles Chart and climbing to number 2 on both the UK Indie and UK Hip Hop/R&B charts.

The song’s recognition, certified Gold by the British Phonographic Industry, reflects its 400,000-unit sales, though it spent a modest three weeks on the Singles Chart—a glimmer on the grime landscape, fleeting but bright enough to catch attention.

Stormzy, or Michael Omari, laces the track with a lyrical message emphasizing empowerment for young black listeners, a detail he emphasized in an interview with *The FADER*.

His delivery balances his trademark confidence with playfulness, weaving in self-assured bars against a backdrop that pulses with grime’s tight, angular energy.

The production by Swifta Beater is taut, built for a track that doesn’t waste time but risks feeling disposable due to its compressed runtime.

While charting above grime’s underground ethos, “Cold” exists more as a snapshot than a statement, perhaps reflective of the genre’s quick-hit tendencies during that era of its trajectory.

Stormzy’s rising stature, driven by his freestyles and energetic live performances, ensured the song would ride the momentum of “Gang Signs & Prayer,” even as its message and musical scope came packaged in a form that’s striking but slight.

Featured on the 2017 album “Gang Signs & Prayer”.

Lyrics >> More by the same : Official Site

2 . Gucci Mane – Spotlight (w/ Usher)

“Spotlight,” a collaboration between Gucci Mane and Usher from Gucci’s 2009 album “The State vs. Radric Davis,” plays like a calculated bid for crossover appeal.

Polow da Don’s production leans heavily on uptempo R&B gloss, offering a bright contrast to Gucci’s gruff delivery, though this juxtaposition feels more functional than inspired.

Usher’s contributions, recorded in 2008, provide the song’s most polished moments, his smooth vocals a familiar anchor amidst Gucci’s characteristically laconic flow.

The Benny Boom-directed music video, released in November 2009, amplifies the track’s mainstream aspirations with high-wattage cameos from Bria Murphy and Nicki Minaj, though this star-studded veneer is more memorable than the narrative itself.

Chart-wise, “Spotlight” performed respectably, peaking at number 42 on the Billboard Hot 100 and earning a Gold certification from the RIAA, yet it stops short of being a breakout smash.

International rankings, such as number 46 on the UK Singles Chart, suggest limited global traction despite Usher’s star power.

Though Gucci remains a prolific voice in hip-hop, this track feels more like a detour into radio-friendly territory than a natural evolution of his style, with Usher’s presence all but overshadowing the rapper at the track’s core.

While undeniably polished, “Spotlight” lacks the lasting impact or depth to rank among the most compelling works from either artist’s discography.

Featured on the 2009 album “The State vs. Radric Davis”.

Lyrics >> More by the same : Official Site

3 . Drake – Energy

“Energy,” the second single from Drake’s 2015 mixtape “If You’re Reading This It’s Too Late,” marks a striking entry into his catalog with production helmed by Boi-1da and OB O’Brien.

The track leans heavily on a patchwork of samples, drawing from “Eazy-Duz-It” by Eazy-E and Three 6 Mafia’s “Ridin Spinners,” while weaving in elements like the hook from “I Need A Hot Girl” by Hot Boys and the instrumental from Original Concept’s “Knowledge Me.”

Equally eclectic is its sampling of a score from “The O.C.” and a recording by Jamaican DJ Jah Walton, an unusual but calculated collision of sonic textures.

Lyrically, “Energy” carries Drake’s signature mix of braggadocio and paranoia, with the refrain exuding a simmering defiance that resonates as a manifesto against detractors.

The song’s standout feature, however, is its music video.

Drake’s transformations into cultural figures like Oprah Winfrey, Barack Obama, and Kanye West amplify the track’s lyrics with surgical precision, offering satire and commentary in equal measure.

While monochromatic footage of Drake and his entourage adds a stark contrast, the video ultimately thrives on its absurdity, earning Pitchfork’s 12th-best music video of 2015.

Chart-wise, “Energy” holds court on multiple fronts, peaking at number 26 on the U.S. Billboard Hot 100 and climbing to the top five of the Billboard Rap chart, a testament to its commercial potency.

Internationally, it secured certifications including 5× Platinum in the U.S. and Gold in the UK, among others, spotlighting Drake’s global reach.

Yet, the track’s impact isn’t without its flaws.

Its reliance on intertextual sampling risks feeling derivative, and some lines lean closer to filler than fire.

Still, “Energy” encapsulates Drake’s duality: a polarizing figure blending vulnerability with bravado, wielding musical ambition like a laser beam aimed squarely at both his critics and his crown.

Featured on the 2015 album “If You’re Reading This It’s Too Late”.

Lyrics >> More by the same : Official Site

4 . Lil Wayne – Love Me (w/ Drake, Future)

“Love Me” by Lil Wayne, featuring Drake and Future, operates as a heavily Auto-Tuned manifesto of excess, distrust, and fleeting connections.

Released on January 18, 2013, as the second single from his tenth studio album, “I Am Not a Human Being II,” the track leans on its atmospheric production by Mike WiLL Made It and A+ to carry its sultry, disaffected mood.

The lyrics see Lil Wayne reveling in a polyamorous swagger while lacing his verses with an unrelenting pessimism about women, a dichotomy that teeters on both indulgence and weariness.

Drake’s contribution adds a smoother melodic touch, a reliability he often brings to collaborations, while Future’s Auto-Tuned warble adds texture, though its novelty can feel more like a coat of gloss than a necessary contribution to the song’s structure.

Commercially, the song delivered, peaking at number nine on the US *Billboard* Hot 100 chart, becoming a standout marker for all three artists—Lil Wayne’s 18th top ten and Future’s introductory foray into that territory.

On the UK Singles Top 75 chart, it peaked at a respectable, though less impressive, number 44 but retained a strong presence on the US Hip Hop and R&B Singles Chart, where it also landed at number nine.

The music video, directed by Hannah Lux Davis in Los Angeles, premiered fittingly on February 14, 2013, bringing a relatively dark, surreal visual world that has since garnered over 508 million YouTube views, proof of its staying power in the digital age.

The moth-butterfly artwork chosen by Kanye West adds a curiously high-concept veneer to the release, nodding to transformation, perhaps ironically juxtaposed against its themes of hedonism and cynicism.

Certified Diamond by the RIAA in the United States, marking over 10 million units sold, the song is an undeniable commercial success, though its reliance on overt themes and soundscapes risks leaving little to unpack beyond its surface appeal.

Featured on the 2013 album “I Am Not a Human Being II”.

Lyrics >> More by the same : Twitter

5 . Lil Skies – I

“Lil Skies – I,” a single from Lil Skies’ 2019 debut studio album “Shelby,” operates as both a diary and a self-interrogation, delivered over sleek production by Danny Wolf, CuBeatz, and Otxhello.

Lyrically, the track wades through Lil Skies’ familiar realm of personal struggles—depression, drug use, and broken relationships—but never quite swims deep enough to leave a lasting emotional imprint. These themes appear genuine yet risk feeling recycled, as if Skies is merely running through a checklist of modern rap tropes. While personal, the writing leans on abstraction, rarely grounding listeners in visceral specifics that could make the pain more palpable.

Musically, the production shifts the attention outward. It blends floating melodies with a subdued trap rhythm, crafting a sound that’s polished but, at times, almost too predictable—like a room painted in safe neutral tones. It’s competent but lacks an element of surprise, a moment where style and theme truly collide to demand replay.

The song found moderate commercial success, peaking at number 39 on the Billboard Hot 100—respectable, though not revolutionary. Its upward movement on genre-specific charts, including number 15 on the US Rap Songs chart, suggests a niche rather than a mass appeal. Global performance, with placements such as 93 on the UK Singles Chart, adds to the impression of a track that resonated but didn’t crack the mainstream ceiling.

In context, “I” feels like a pivotal piece of the broader “Shelby” project, framing Skies as an artist caught between introspection and accessibility. Yet, for all its technical polish and chart activity, it feels more like a stepping stone rather than a defining artistic statement.

Featured on the 2019 album “Shelby”.

Lyrics >> More by the same : Twitter

6 . Kanye West – Mercy (w/ Big Sean, Pusha T, 2 Chainz)

“Mercy,” the lead single from the 2012 GOOD Music compilation album *Cruel Summer*, is both a calculated display of excess and an exercise in minimalist production.

The track opens with a sampled hook from Super Beagle’s “Dust a Sound Boy,” its island-inflected cadence immediately setting a confrontational tone.

Lifted’s production, with additional contributions from Kanye West, Mike Dean, Mike Will Made It, and Anthony Kilhofer, opts for eerie restraint—piano keys punctuate spare drum patterns, while a looming bassline creates a spectral unease beneath the surface bravado.

All four featured vocalists—Big Sean, Pusha T, 2 Chainz, and Kanye himself—weave in and out with their verses, projecting self-assured hedonism tempered by competing levels of lyrical cleverness.

Yet not all contributions feel evenly weighted; while Kanye’s section employs a jarring beat switch to underscore his dominance, Pusha T’s verse lingers more on technical precision, leaving Big Sean and 2 Chainz to straddle moments of filler.

The music video, directed by Nabil Elderkin, shifts focus from sonic tension to stark visual choreography, shot in a Doha parking garage where GOOD Music affiliates like Kid Cudi and Teyana Taylor play cameo roles in calculated symmetry.

Lyrically, “Mercy” thrives in spectacle without delving into introspection, making its success on charts such as the *Billboard* Hot Rap Songs a testament to its commercial viability, but it occasionally falls short of the layered substance Kanye has achieved elsewhere.

At six million digital sales and a sextuple platinum certification, its reach remains undeniable, amplified by performances at the 2012 BET Awards and inclusion in the *NBA 2K13* soundtrack.

The song’s Grammy nods for Best Rap Song and Best Rap Performance validate its craftsmanship, though its critical acclaim—from outlets like *Complex* and *Spin*—may say more about its zeitgeist status than its endurance as a classic.

Featured on the 2012 album “Cruel Summer”.

Lyrics >> More by the same : Official Site

7 . Khalid – Talk (w/ Disclosure)

With “Talk,” Khalid pairs the English electronic duo Disclosure’s signature production with his characteristic smooth vocal tone, crafting a restrained yet captivating piece of Electro-R&B.

The track operates at a midtempo pace, its foundation marked by staccato bass lines, while synth textures bubble and twinkle like overheard neon signs in a city nightscape.

Khalid’s vocal delivery feels intimate, as if he’s choosing his words carefully in the early stages of a fragile relationship, embodying the track’s theme of communication—or the awkward lack thereof.

There’s something deliberately sparse about the arrangement; the production refrains from overloading the sonic space, giving Khalid ample room to air hesitation and yearning, though one might wonder if the minimalism risks feeling underwhelming to those looking for a more dynamic sound.

Originally released on February 7, 2019, as the lead single for *Free Spirit*, “Talk” went on to showcase impressive chart prowess, peaking at number three on the *Billboard* Hot 100 and securing number-one spots on multiple airplay charts.

It also enjoyed global traction, with top-ten positions in territories like New Zealand, Australia, the UK, and Ireland—affirming its breezy universality.

For those seeking new dimensions, Disclosure’s “Talk (VIP)” remix adds a house-leaning energy, while Megan Thee Stallion and Yo Gotti’s version injects a rap infusion, though both linger in the shadow of the original’s quiet charm.

Recognized with a Grammy nomination for Record of the Year in 2020, the song resonates as Khalid’s invitation to vulnerability, with Disclosure complementing his plea with polished restraint.

Yet, as smooth as it is, the lack of any real crescendo might leave some listeners yearning for a deeper emotional payoff amid the synth polish.

Featured on the 2019 album “Free Spirit”.

Lyrics >> More by the same : Official Site

8 . Giggs – Baby

“Baby,” a single from Giggs’ 2019 album “Big Bad,” offers a mix of swagger, absurdity, and cinematic flair that’s hard to ignore.

Produced by The FaNaTiX, the track leans on a seductive instrumental palette—smooth yet subtly menacing, much like Giggs himself. His enunciation is crystal clear, yet his lyricism veers into the bizarre, with lines like “Shit’s Madagascar/ When the monkeys made a poo scatter” sticking out for all the wrong reasons. It’s a moment where whimsy undermines what might otherwise be a more grounded slice of UK rap. These quirks, intentional or not, add flavor but risk alienating listeners who crave a sharper focus.

The accompanying music video, directed by Myles Whittingham, trades grime for kitsch with an Austin Powers-inspired club setting. Think retro maximalism: oversized glasses, groovy dance floors, and Giggs channeling a certain 1960s cheekiness. This visual choice injects a sense of fun, even if it feels disconnected from the track’s moodier sonic elements.

Commercially, “Baby” didn’t scale dizzying heights but held its own, peaking at number 48 on the UK Singles Chart with a respectable nine-week residency. Though it lacks award recognition or a breakout live performance moment, its position within “Big Bad” highlights Giggs’ ability to oscillate between introspection and theatrics.

As a veteran of the UK rap scene, Giggs—real name Nathaniel Thompson—has navigated transformations since his 2007 debut “Welcome 2 Boomzville.” While past efforts like “Landlord” and “Wamp 2 Dem” showcased his knack for harder-hitting narratives, “Baby” feels lighter, albeit uneven. It’s an experiment, and experiments, by nature, can misstep even as they intrigue.

Featured on the 2019 album “Big Bad…”.

Lyrics >> More by the same : Instagram

9 . Big Sean – Bounce Back

“Bounce Back” finds Big Sean navigating the aftermath of personal and professional setbacks, blending braggadocio with introspection over a neatly polished trap foundation. Released as the lead single from his fourth album, *I Decided*, on October 31, 2016, the track employs production from Hitmaka and Smash David, with notable assists from Metro Boomin and Amaire Johnson. It grooves in C♯ minor at a measured 81.2 BPM, giving Sean a contemplative yet triumphant canvas to articulate his narrative.

The song’s subtitle, “Take No L’s,” frames its resilient ethos, mirrored by its minimalist cover art. Bolstered by additional vocals from Kanye West and Jeremih, the track toes the line between personal grit and commercial accessibility. Its layered yet slick production gleams just enough to avoid overshadowing Sean’s evenly delivered rhymes. While his verses don’t redefine the genre, they serve the functional purpose of a comeback anthem with lines that toe the edge of aspiration and defiance.

Commercially, “Bounce Back” broke ground for Sean, peaking at number six on the *Billboard* Hot 100, a milestone in his career. Certified six-times platinum by the RIAA, its 374,000 U.S. sales as of March 2017 speak to its ubiquity. Its international reception carried Sean’s bounce beyond borders, charting in markets from Canada to Sweden. The music video, co-directed by Glenn Michael and Christo Anesti, mixes surreal and symbolic visuals that drew enough acclaim to earn nominations for Video of the Year at the BET Awards and Best Hip-Hop Video at the MTV VMAs.

Live performances further cemented the track’s presence in Sean’s repertoire. From his combination performance of “Bounce Back” and “No More Interviews” on *The Tonight Show Starring Jimmy Fallon* to a standalone showing on *Saturday Night Live*, Sean proved his aptitude for weaving unassuming confidence into live renditions. A Grammy nod for Best Rap Performance at the 60th Annual Grammy Awards added yet another feather to the song’s cap.

Despite its merits, “Bounce Back” isn’t immune to critique. Sean’s lyrical depth occasionally succumbs to predictability, and the song’s polished sheen borders on clinical. Yet, within the sphere of mainstream hip-hop, it’s a finely-tuned vehicle for perseverance, a testament to Sean’s ability to pivot between earnest reflection and audience-pleasing catchiness. If it doesn’t push boundaries, it at least leaves a definitive mark on the musical moment it inhabits.

Featured on the 2017 album “I Decided”.

Lyrics >> More by the same : Official Site

10 . Tyga – Rack City

“Rack City,” released on December 2, 2011, slots seamlessly into the lineage of minimalistic club bangers that emerged in the early 2010s, aided by DJ Mustard’s skeletal yet undeniably infectious production.

Tyga leans fully into the track’s sparse sonic landscape, using repetition like a hypnotist wielding a pocket watch. The beat, stripped down to its bare essentials, is powered by synthetic plinks that echo like a cash register left open too long, fitting the money-obsessed theme to a tee.

Originally surfacing on Tyga’s “Well Done 2” mixtape, “Rack City” was repurposed as the third single for his second studio album, *Careless World: Rise of the Last King*. Its chart trajectory is as straightforward as its lyrics, climbing to number seven on the US *Billboard* Hot 100 and securing respectable positions on other charts, such as number 53 in Canada and number 39 in the UK.

The track’s quadruple-platinum certification by the RIAA by August 2014 speaks not just to its commercial appeal but to its ubiquity in a period where booming basslines and cocky minimalism ruled hip-hop airwaves.

Cultural moments further cement its legacy. Tyga’s cameo in *Boo A Madea Halloween* performing this track feels as absurd as it does inevitable, a strange pairing that speaks to the song’s reach. Even Rihanna gave a nod to its iconic synth motif during her 777 Tour, subtly weaving it into her live rendition of “What’s My Name?”

And yet, for all the accolades and metrics, “Rack City” feels as hollow as the echoing beat. A hymn to hedonism with all the lyricism of an ATM receipt, the song relies heavily on its earworm simplicity, which either sticks to your brain like glue or grates like nails on a chalkboard—depending on your tolerance for repetition. Tyga, born Michael Ray Stevenson, is far from his most charismatic on this track, delivering his verses with a monotone drawl that suggests indifference rather than swagger.

While undeniably iconic for its era, “Rack City” embodies a moment in hip-hop history where production often outshined the performances it supported. Its success is undeniable, but whether it holds up outside the confines of a club remains very much a personal judgment.

Featured on the 2012 album “Careless World: Rise of the Last King”.

Lyrics >> More by the same : Official Site

11 . Fredo – All I Ever Wanted (w/ Dave)

“All I Ever Wanted,” a collaboration between Fredo and Dave, operates less as a groundbreaking statement and more as a snapshot of two artists navigating the UK rap scene with unflinching focus.

Fredo, who emerged from Kilburn’s Mozart Estate with tracks like “They Ain’t 100,” brings his signature blend of gritty realism and melodic introspection. His ability to reflect on a challenging upbringing while balancing his current success is central to his appeal, and this track doesn’t stray far from that thematic orbit. With albums like “Third Avenue” (2019) and “Money Can’t Buy Happiness” (2021) in his catalog, Fredo has carved out a space that thrives on blunt truths underscored by moody instrumentals.

Dave’s feature feels almost inevitable, given their history, including their 2018 chart-topping success with “Funky Friday.” Where Fredo offers raw immediacy, Dave contributes his trademark introspection and technical finesse. It’s hard not to view their collaboration as an extension of their earlier chemistry, though, in this instance, it leans less on euphoric hooks and more on reflective verses.

Musically, “All I Ever Wanted” fits snugly within Fredo’s existing discography but doesn’t quite push the boundaries established by earlier projects like “Get Rich or Get Recalled” or “Tables Turn.” Lyrical glimpses of ambition and survival underscore the track, tethering it to the broader themes recurring across his career. That said, its impact feels muted compared to more daring moments in either artist’s output, an observation that highlights consistency over progression.

Ultimately, the track feels like a meeting of minds—a continuation rather than a reinvention. Fans familiar with Fredo’s grime-tinged narratives and Dave’s contemplative lyricism will find territory they’ve traversed before, albeit with characteristic polish.

Featured on the 2019 album “Third Avenue”.

Lyrics >> More by the same : Official Site

12 . Beyoncé – Mine (w/ Drake)

“Mine” by Beyoncé, featuring Drake, finds itself at the intersection of alternative R&B and modern hip hop, pulling threads from trap and African beats to weave a sound that’s both introspective and current.

Its lyrical core examines Beyoncé’s reflections on marriage and motherhood, imbuing the track with an air of vulnerability that sidesteps sentimentality. Co-written by a team that includes Noah “40” Shebib, Majid Jordan, and Drake, the song subtly benefits from each collaborator’s tendencies without fully leaning into any one’s aesthetic, keeping it balanced but never entirely bold.

The production—helmed by Shebib, Jordan, Sidney “Omen” Brown, Key Wane, and Beyoncé—layers atmospheric textures with rhythmic complexity. The Afrobeats infusion feels understated rather than transformative, a choice that aligns with the track’s restrained emotional tone but dilutes its potential as a genre crossover.

Visually, the accompanying black-background video reduces ornamentation to focus on themes of empowerment, subverting expectations with male dancers sporting ‘YOURS’ t-shirts. The lack of diegetic sound isolates the visuals from the music, creating a minimalist tension that’s striking but risks feeling clinical.

On the charts, “Mine” quietly etched its place, peaking at modest positions—number 82 on the Billboard Hot 100 and number seven on the UK R&B Chart. Its reception among audiences and critics doubles as a mirror of the song itself: restrained admiration. Certified Platinum by the RIAA, “Mine” owes much of its gravity to Beyoncé’s evocative vocal layering and the buried intrigue of its breakdown, though Drake’s presence on the track feels more accomplice than co-lead.

As Beyoncé’s first collaboration with both Drake and Shebib, “Mine” offers a nuanced exploration of their collective capabilities, even if it opts for subtlety over revolution.

Featured on the 2013 album “Beyoncé“.

Lyrics >> More by the same : Official Site