It seems music video directors have run out of ideas. It’s one thing to think out of the box, it’s another thing altogether to box out your thinking. This music video seems to do the latter. It takes creativity and uniqueness beyond the acceptable limits. Perhaps, one could accept its mud-concept of dancers, pulling off those rare strokes in those soggy conditions, but curiosity gets you wondering why they had to dance in the mud? How does the mud connect to the overall concept? Is the mud being used to illustrate the Ugandan countryside madness? Or is it another of those things that the video director decided to patch into the video after running out of concepts.
With all due respect, the grime parts of this video are a total fail. We don’t need to see old men playing in the mud for us to get a clear picture of the village. And just when you think you’ve had enough of the flaws, you notice Maro with his smartphone. Totally unacceptable, a pink smartphone belonging to this village man, village life has indeed changed for the better. But it doesn’t match to the house that he owns in this video.
I feel like rambling all through. This video puts me into a rambling trance. The storyline doesn’t hook me, there’s nothing to jubilate about. The whole borehole concept and this girl are too simplistic to be remembered. That’s how this video meets its death. It takes every concept to extremes.
In the end, one is forced to find solace in the characters. They try their very best to bring robustness. Maro and his dancers give it their all. If not for this vivacious act on their part, I would simply recommend that the video gets redone.
