Kanye West released a new song titled “Father,” on March 28, 2026, featuring Travis Scott. The track was directed by his wife Bianca Censori, which is the third song from his twelfth studio album “Bully.”

“Father” infused gospel elements with heavy drums and bass. The song opens with a vocal sample from gospel singer Johnnie Frierson. West uses his verse to describe his new state of mind, while Scott follows with a faster pace and gave a brief reference to Nike, thanks to his association with the shoe brand. 

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A day before “Bully” was released, “Father” was revealed at a listening party in California, accompanied by a music video. The video took place inside a church with Kanye dressed in a gray suit and cowboy boots. Other attendees in the church included elderly women and nuns, who are seen in the background.

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As the video continues, two astronauts arrive and unmask West, revealing what looks like an alien face before they carry him out of the church. Travis Scott then appears during a wedding scene involving two women.

The video combines both sci-fi elements, such as aliens and astronauts, with religious imagery. It also includes a background figure who resembles Michael Jackson but is  later confirmed as an impersonator named Fabio Jackson.

Photo: Instagram

The song is part of the album “Bully,” which had a delayed release before arriving on streaming platforms. A few days before the album dropped, a Beats Electronics advert featuring Travis Scott resurfaced online. The advert was originally released in December 2025, and towards the end, a short snippet of an unreleased track was heard, believed to be “Father.”

West and Scott have long maintained a working relationship with each other, dating back to the 2012 compilation album “Cruel Summer.” Since then, both artists have worked together on several songs. In 2025, their relationship became strained following a series of public statements and online activity. West also accused Scott of taking credit for work from past recording sessions. They later settled their differences in November, when West made a surprise appearance at Scott’s concert in Japan, performing on stage together.

Charlie Puth’s “Home”, created in collaboration with Hikaru Utada, is accompanied by a music video that centres on physical separation and emotional absence.

Directed by Hunter Moreno, the video is set almost entirely inside a large, sparsely furnished house, with both artists shown moving through the space alone. There is no direct interaction between them at any point in the video.

The narrative is minimal. Puth appears seated or walking through different rooms, often framed in isolation. Utada appears in a similar manner occupying separate areas that mirror his environment. The use of a single location emphasises the idea of shared absence rather than connection.

Lighting is kept low and natural, with no dramatic shifts. The camera work avoids rapid movement, relying instead on steady shots and slow transitions. This keeps the pacing even and avoids visual tension or shifts in direction.

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The central theme is longing tied to distance. The house reflects the idea, with its emptiness suggesting absence of the other person.

The video does not introduce secondary characters, subplots, or external settings. Every scene returns to the same interior environment maintaining a contained structure.

The editing follows the tempo of the track, with no abrupt cuts or changes in rhythm. Each sequence lingers, prioritising stillness over progression. This keeps the focus on mood rather than narrative development.

There are no visual effects or stylised overlays used. Wardrobe remains simple and neutral, with no emphasis placed on costume as a storytelling element.

The video is a direct extension of the song’s subject matter. It does not introduce additional interpretation beyond what is already present in the lyrics, instead presenting a literal depiction of distance through space, repetition, and isolation.

The visual for Harry Styles’s music video for American Girls, arrived with an unexpected concept. Instead of a conventional pop performance or a storyline tied closely to the lyrics, the video unfolds on what appears to be an action-film set, where staged stunts, explosions, and elaborate sequences play out around the singer.

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The visual leans heavily into the mechanics of filmmaking. Styles is shown moving through scenes that resemble blockbuster action moments riding a motorcycle, navigating high-speed driving shots, and standing near large-scale explosions. Yet the production repeatedly pulls back the curtain, revealing stunt performers stepping in for the most dangerous sequences while the set resets around him.

Throughout the video, Styles is often shown observing the stunt sequences as they unfold on a film set, reinforcing the idea that the action scenes are part of a staged production. By exposing the behind-the-scenes process from stunt doubles absorbing the impact of crashes to crew members adjusting the set the visual shifts attention away from spectacle alone and toward the craft behind it.

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Musically, American Girls carries an upbeat pop rhythm while the lyrics reflect on relationships and the experience of watching friends move into new stages of life. That contrast shapes the video’s concept: large-scale action imagery paired with a song that takes a more reflective perspective.

The result is a visual built less around traditional storytelling and more around performance and production design. By framing the video as a film shoot rather than a conventional narrative, Styles turns the format into a commentary on spectacle, celebrity imagery, and the entertainment industry itself.