In the spirit of love and couple goals, Inkabi Records supergroup, Inkabi Nation, has saved a spot for Valentine’s Day and reunited for the first time since their hit single ‘Voicemail’. Helmed by their go-to director, Slowman, the ‘All I Need to Know’ visuals are marked by the glaring absence of head honcho Big Zulu, albeit all the other artists in the roster make appearances in varying degrees.
Vocalists Mduduzi Mncube, Lwah Ndlunkulu, and Siya Ntuli dominate the visuals, while Xowla plays a supporting silent role as he strums a guitar. At the heart of it all, ‘All I Need to Know’ is a searching ballad of lovers stuck in the limbo of whether their love still exists or not.
Since breaking into the music scene as a collective, Inkabi Nation has carved itself a unique niche in the film aspect of music-making with its uncomplicated visuals. Many Mzansi R&B and Afrosoul musicians capitalise on opulent music videos set in lavish locations and styled with custom-made clothing and famous Western brands. The members of Inkabi Nation achieved visibility by swimming against this wave. On ‘All I Need to Know’, they exploit the same formula: a simplistic setting offset by a stylish, yet down-to-earth wardrobe.
The Valentine’s Day offering is a subtly implied wedding-themed music video. No altar, no priest officiating the ceremony, no church, no nothing—there’s nothing obvious about the theme. Any evidence of it being extracted from the idea of marriage exists in their dress code and styling.
The ‘Ithuba’ star Lwah Ndlunkulu dons a frothy wedding gown and an elaborately tied cluster of dreads bespangled with pearls. The men—Mduduzi, Siya, and Xowla—wear identical black-and-white suits with bow ties, echoing the classic groomsman outfit. Once again, true to the nature of Inkabi Nation, they kept it straightforward – clear enough for the idea to convey itself, but not too busy to the point of overshadowing the song with too many overlapping elements.
Throughout the solemn music video, the trio of singers take turns with the dangling microphone, unzipping their hearts for their lovers and addressing the stance of the shared romance.
Against the pastel-coloured backdrop of the visuals, one is forced to focus on the singers, who, from time to time, lock eyes with the camera with such an intense sincerity that commands thought and attention. Coupled with the presence of their black suits and Ndlunkulu’s bright white gown, the contrast directs all attention to the artists and their words, accenting the message rather than drowning it.
While the visuals for “All I Need to Know” are similar to “Voicemail”, the recipe has been tweaked here and there. Ghostly lines of the “Voicemail” music video are still visible, but the thought behind the styling and thematic direction make the visuals for “All I Need to Know” a novel presentation of oldish work.
Watch ‘All I Need to Know‘ here:
