ByShakes: The Artistic Genius Behind “No Love in Lagos” on Crafting Visual Magic and Creative Mastery
Written by Ayafa Tekena
Interviewed by Hodovs and Tekena
Transcribed by Okolo Daniella
In a recent Google Meet interview, we had the privilege of speaking with Byshakes, the creative mind behind the visual direction of No Love in Lagos, the latest album by Show Dem Camp, David Nsikak and The Cavemen. Known for his innovative approach to mixed media and a keen eye for capturing the essence of Lagos, Byshakes walked us through the conceptual journey of crafting the album’s visual identity. From the early stages of the album, when tracks were still raw and evolving, to the final touches that brought the chaotic beauty of Lagos to life, he shared how he developed the album’s striking visuals. With deep-rooted trust from the artists and a collaborative spirit that allowed him to explore new creative territories, Byshakes delivered an immersive visual experience that resonates with the vibrant, yet chaotic energy of Lagos. Join us as we delve into the layers of creativity, challenges, and triumphs that shaped this iconic project.
NTS: The title No Love in Lagos brings to mind so many layers—love, Lagos, chaos. How did you develop the concept for the album?
ByShakes: The concept really started to form even before the album was fully fleshed out. The team sent me early versions of the tracks but some of them were still in their raw stages, with missing verses and unfinished intros. But they had already settled on the title No Love in Lagos, which got me thinking about the city’s chaotic energy and how that chaos might make it difficult to prioritize love. Yet, out of that chaos, beautiful things emerge if you look hard enough like the music itself. My job was to translate that vibe into the visual elements. I started experimenting with styles, incorporating elements like collages and dynamic transitions. When I shared these ideas with the team, they resonated strongly, and that’s how the concept began to take shape.
NTS:You mentioned that you were already working on something before hearing bits of the album. What were the key visual elements you knew had to be on this cover?
ByShakes:The main theme I wanted to convey was the beauty within the chaos of Lagos. I see Lagos as this vibrant melting pot of cultures and people from all over Nigeria. To capture that, I used a mix of colors, textures, and layers—some elements clash, while others harmonize, much like the city itself. The goal was to reflect this diversity and dynamism in the album cover.
NTS: Lagos is a city of intense emotions—daily hustle, conflicts, and vibrant energy. What emotions were you trying to evoke through your choice of colors?
ByShakes: I aimed to keep the colors vibrant and alive, reflecting the city’s relentless energy. Some colors work well together, others clash, but that’s the essence of Lagos—it’s chaotic, yet everything somehow blends together in a way that makes sense. The bright, bold colors I used are meant to capture that chaotic spirit and bring it to life visually.
NTS: This album involved Show Dem Camp, The Cavemen, and Nsikak David. What was it like working with all of them to achieve a unified vision?
ByShakes: I’ve worked with Show Dem Camp for years, contributing to various projects, whether it’s editing videos or giving feedback. We’ve developed a strong collaborative relationship. For this album, I felt a high level of trust—they wanted me to experiment and do my thing. I’d send them updates, but most of the time, the feedback was just, “Keep going; we love it.” Having that freedom allowed me to really dive deep into the creative process, and the result is a rich, layered visual experience that evolves as the music progresses.
NTS: It’s great when creatives don’t have to struggle to convey their ideas. How was your experience in that regard?
ByShakes: Definitely, no one likes unnecessary back-and-forth. The process was smooth because there was mutual trust. Any feedback I received was constructive, often encouraging me to push further in the direction I was already going. It was a rewarding experience, and I’m glad it all came together so seamlessly.
NTS: Were there any challenges you faced during the design process, given that you worked on it over a long period?
ByShakes: I wouldn’t call them challenges per se, but there was some heavy lifting involved. I combined physical painting with digital art, a mixed-media approach that required a lot of time and effort. But because I had the luxury of time, I was able to pace myself and let the process unfold naturally. The synergy between the team and me made everything flow smoothly
NTS: Were you involved in the promotional campaign for the album? How did the cover art tie into that?
ByShakes: Yes, I was involved from start to finish. I handled the album art, the mini-documentaries, the single covers everything leading up to the album’s release. My goal was to create a cohesive world where all these elements could exist together. The colors, textures, and mixed-media elements from the cover art extended into the promotional visuals, creating a unified theme across the campaign.
NTS: Visual continuity is crucial for a project like this. How did you ensure that the theme was consistent across all elements, from merch to promotional content?
ByShakes: It’s all about world-building. From the outset, we knew we wanted the visuals to extend into merch and other promotional materials. By treating the project as a holistic world, it became easier to pull everything into that space. Beyond digital elements, I also created physical artwork, which we’ll showcase in exhibitions. Even details like the parental advisory label on the cover were turned into a separate art piece. The idea was to immerse people fully into this world we’ve built.
NTS: The album tells a story, and the visuals need to align with that. How did you ensure the visuals enhanced the album’s narrative?
ByShakes: I approached it from a conceptual angle. The title No Love in Lagos is blunt and harsh, but the music itself is melodic and beautiful. There’s a juxtaposition there, and I wanted to play into that with the visuals. I used vibrant colors, but also incorporated rough edges and tears to reflect the underlying chaos. It’s all about recreating the feeling of the music in a visual format.
NTS:Did you use any specific symbols or motifs throughout the album’s visuals? What do they represent?
ByShakes: I focused more on the techniques, layering, creating textures, and merging them in a way that mirrors the complexity of Lagos. This theme of layered chaos carried through all the visuals, including the merch. We were intentional about creating a world that feels cohesive yet dynamic, with elements like masks on the cover to represent this otherworldly aspect of Lagos.
NTS: Walk us through the creation of the album cover. What message were you trying to convey?
Byshakes: The cover is less about a specific message and more about conveying a feeling. It’s about capturing the essence of Lagos—its chaos, its vibrancy, and the struggle to find love within it. The result is a kind of beautiful chaos, a reflection of the city and the music.
NTS: What inspired the theme of No Love in Lagos?
ByShakes: While I wasn’t involved in deciding the theme, I understand where it comes from. Lagos is a city that demands so much from its people, everyone is hustling, everyone is focused on their goals, often at the expense of love. But amidst all that, there’s a desire to find love and connection, and that’s what the album tries to capture.
NTS: From a fashion perspective, how did styling contribute to the storytelling of this project?
ByShakes:That would be more of a question for Ruby, who led the initial shoot with the guys. He could speak more to how the fashion and styling were designed to complement the story.
NTS: How has the reception been from fans and art lovers regarding the cover and the project overall?
ByShakes: The reception has been fantastic. I was at the Palm Wine Fest in New York recently, and it was amazing to see the visuals come to life on stage. Seeing people appreciate the art in person was incredibly rewarding.
NTS: Did the feedback or the project itself influence you in any way for future work?
ByShakes: Absolutely. It’s always fulfilling to see your ideas come together in a project and be appreciated by others. The freedom I had to explore and experiment with different elements, painting, editing and visual effects was a great experience. The validation from the feedback motivates me to keep pushing boundaries in my future work.
NTS: You didn’t work on this project alone. Any shout-outs to the people who helped bring the visuals to life?
Byshakes: Definitely. Ruby played a huge role in capturing the visuals and photos. On the creative side, I wore many hats, handling most of the art myself. But it was very much a collaborative effort, and I’m grateful for everyone who contributed.
NTS: I don’t know if you have what do you have planned to like, the end of the year? Any more artworks we should be expecting any, maybe small show, anything Lagos or like abroad, anything to expect.
ByShakes: Well, the plan right now is to, it’s like I said, do these? Do these like exhibits, and so there’s a lot of time that goes into those. But I think, I think we want to do one. You know, in London, when they do the palm wine Fest there. And now we want to do one in Lagos in December. And so we want to bring all the art to Lagos and do like a show, and do online tests in December, and then see where it goes next year. But for the other sponsors, do those, and that’s kind of like the next phase the album, one thing with show them camp and the penguin music team is that the art work will always speak, visuals or weeks always speak, yeah, music, first in December in Lagos, is the certainty for some of us. You know, we look forward to it, yeah, so that would be nice.
NTS: How did you work your content strategies for example sampha 3000 and the remaining of your art piece why do you love working with caricature in your art work?
ByShakes: I have been playing around with that collage, mixed media kind of style for years, I started out as a director; filming and editing things then over the years, I leaned more into the editing and post production side of things and further in my career I picked up on painting and I find ways to mix everything together and so that’s where the style comes on.
In conclusion, Byshakes stands as a visionary creative director whose work on the No Love in Lagos album has not only captured the essence of Lagos but also set a new standard for storytelling in the Music Industry. Through his thoughtful and innovative approach, Byshakes has woven together the vibrant culture, complex emotions, and unique narratives that define the album creating a visual experience that resonates deeply with the audience. His ability to translate music into powerful imagery is a testament to his talent and dedication, marking him as a driving force in the creative direction landscape. As Byshakes continues to push boundaries and inspire through his work, we eagerly anticipate what he will bring to the world of music and art next.
