How DJ TEE used to be Number One before Clarence Peters who isn't Today

What got me thinking was Clarence Peters' comment on being compared to TG Omori -- an experience he called ''painful but humbling''. Why painful and why humbling is the next question you might want to ask. But as they say, ''No champion forever'' is perhaps the most profound way to describe how quick things change for those at the zenith of their careers or describe the reality of life. 

Before Clarence, there was DJ TEE. In the early 2000s, when the industry was still in its infancy, most videos were shot on limited budgets, with basic lighting and little sense of cinematic ambition. Then came DJ Tee, Adetokunbo Odubawo, a trained cameraman who had worked with the BBC before returning home. He brought with him a precision and discipline that changed everything. His work on hits like Olu Maintain’s “Yahoozee” DJ Jimmy Jatt’s “Stylee” featuring Tuface and Mode 9, Shank’s “Julie”,  Wade Coal's ''Pere'', Ikechukwu’s “U Know My P”, etc. set a new standard. DJ Tee turned Nigerian music videos into cultural events, showing that visuals could be as powerful as the songs themselves. And for the next few years, he was the unquestioned leader, a perfectionist whose name guaranteed quality. His success inspired a generation, and among them was a young film student who would eventually redefine the industry yet again.

That student was Clarence Peters, son of Afro-Juju legend Sir Shina Peters and veteran actress Clarion Chukwura. Clarence’s background in entertainment gave him access, but it was his formal film training at City Varsity in Cape Town that honed his technical mastery. By the late 2000s, he burst onto the scene with an approach that blended cinematic storytelling with contemporary Afropop energy. His production company, Capital Dream Pictures, became synonymous with visual excellence. Videos like Yemi Alade’s “Johnny”, Tiwa Savage’s “Eminado”, Wizkid’s “Pakurumo”. and Olamide’s “Durosoke” transformed the way Nigerians saw themselves on screen. Each frame carried his signature precision. Each release was a small film in its own right. For the better part of a decade, “Clarence Shot It” wasn’t just a tag; it was a brand of credibility and creative authority. It was just the same way DJ TEE watermarked his productions. Undoubtedly, he was the best among his contemporaries like Mattmax, Unlimited LA, Moe Musa, Sesan Ogunro, Ani James (AJE), etc. But the creative landscape began to shift in the late 2010s, and Clarence didn't feel the heat until 2020-2023, when people's taste began to change and high-budget shoots were gradually phasing out. Soon, music video jobs stopped rushing in, and he went from being very busy, shooting a minimum of three videos per week to none per month. It was such a trying moment for him before going back to his original plan, which is movie production.

Technology democratized production, making high-quality tools available to younger filmmakers. Social media platforms such as YouTube, Instagram, and TikTok changed viewing habits, favouring bold, viral visuals over traditional storytelling. It's this space that a new generation of music video directors have stepped into: TG Omori, Director K, Pink Line Films, etc. blending fashion, street culture, and cinematic experimentation. TG Omori, in particular, became a symbol of this shift, directing some of Afrobeats’ biggest anthems and pushing visual innovation into a new digital age. Clarence himself has been candid about the evolution of the industry and his place within it. In interviews, he has spoken openly about feeling the sting of being compared to younger filmmakers. “The industry has changed,” he admitted. “New, creative people come in and shift the scene, and that’s how it should be.” Rather than chase trends, he has shifted focus toward more expansive storytelling, directing films like ''Hex'' and series such as ''Inside Life'' on Netflix. The move marks a natural progression for a filmmaker whose artistry has always leaned toward narrative depth.

Still, for many observers like me, Clarence Peters remains the definitive voice of Nigeria’s golden era of music videos: the bridge between DJ Tee’s pioneering vision and the experimental energy of today’s directors. His contemporaries have also evolved with time. DJ Tee has taken on a more reflective role, often mentoring young creators. Mattmax and Unlimited L.A. have expanded into commercials and branded content. Sesan Ogunro continues to bring an international touch to major productions. The competition that once seemed so fierce has become a testament to how far the industry has come. In the end, the story of Nigeria’s music video evolution is not one of dethronement but of transformation. Each generation stands on the shoulders of the one before it. DJ Tee built the foundation, Clarence Peters raised the bar, and today’s directors are taking the vision global. The crown may pass from one to another, but the legacy remains collective.