Shooting a Spotify Ad Changed My Career Journey- Jeremiah Ajabu, Creative Director, Krewstar Studios

Jeremiah Ajabu has always been captivated by creativity and the art of crafting unforgettable experiences. He began his journey by organising university dance shows before transitioning into multimedia production. Today, he is the Creative Director at Krewstar Studios, a production partner and creative agency specialising in video production, animation, creative design, brand strategy, research, and product design.

Founded in 2021, Krewstar Studios has quickly become known for its cutting-edge advertising and creative work in Nigeria, with notable clients such as TVS, Interswitch Group, Ingenium and Verve. In this interview, Jeremiah Ajabu reflects on his journey and how a pivotal opportunity to shoot an ad for global streaming giant Spotify elevated his career to new heights.

How did you start your professional career?

I started as a street creative. I used to dance in music videos and organise a dance show called Strictly School Dance at different universities. I created this show with friends who were all part of a group where we expressed our creativity in different ways.

I did that for four years. Then, in 2017, I joined Lanre Olusola as a multimedia associate. My direct boss, Oluwapelumi Mogbiele-Peters, gave me my first break there. I left there after a while, but I was able to buy my first camera and laptop while working there.

What happened after leaving your first job?

I initially worked as a freelance videographer before joining Kairos Hub, an audiovisual production hub and event venue, as their in-house video editor. I enjoyed working on projects for multinational brands, including Coca-Cola and UBA.

Then I got hired by a company next door!

How did that happen?

Munachi Ekpo, CEO of Anakle, saw a project that I had edited well and asked me to join the team at Anakle as a motion designer. Honestly, there is something about Anakle’s office for a creative. It has an aura that you feel when you walk into the office. I knew something was there for me.

How did joining Anakle shape your career?

Joining Anakle helped my career grow. I met excellent creatives working in the strategy, social media, and design teams, and I learnt from everyone during joint brainstorming sessions.

While working at Anakle as a motion designer, I started using my camera to shoot in-house content for brands. I was also hired to create mini-commercials for clients as an in-house video director

Editi Effiong, the founder, also gave me the opportunity to work on trailers and marketing assets for feature films like Day of Destiny, The Set Up, Up North, and Black Book. Notably, I worked with Abosi Ogba and Akay Mason, directors of Day of Destiny and Elevator Baby.

I enjoyed my time at Anakle and left to chase new challenges after almost 3 years.

Did you join another creative agency?

No. I worked primarily in fintech. First, at a startup called Kippa, I famously worked on a commercial to announce the signing of Cubana Chief Priest as an ambassador.

Then at Interswitch.

Interestingly, I had two offers. One from Interswitch and the other from an oil and gas major. But the pull to work with one of the pioneers of fintech in Africa was too strong.

What were the highlights of working at Interswitch?

Working on the Interswitch NEVER S20P campaign ad to celebrate 20 years of Interswitch’s existence.

The team had initially spoken to several production companies in Nigeria and South Africa. I saw this as an opportunity to provide value and pitched my services to Paul Otu, the Divisional Head, Design, Research & User Experience, who gave me the opportunity.

I shot the ad and till this year, it is still being played at major company events and has also been aired on local and international news channels including CNN, Channels, TVC and at the Africa Magic Viewers Choice Awards.

How did you get the opportunity to shoot the Spotify ad?

After I left Interswitch, the CEO of Anakle approached me to direct an ad for Spotify.

He had seen the work I had done on the Interswitch NEVER S20p campaign and was very impressed.

The ad was a major ask to win the account. I immediately said yes, and I was excited to go all out. The agency won the account and signed a multi-year deal.

What were some challenges you experienced while shooting the ad?

The location we chose for the production was challenging. Nigerians are more receptive when it’s a popular face they are dealing with. They were constantly hurrying us up, trying to get us out of the venue.

How has working on the Spotify ad impacted your career?

It has unlocked another level of respect and given me the spotlight (see what I did there). I have bagged new projects, gotten the opportunity to work as assistant director on other projects and worked with agencies to bring pitches to life.

What makes you different as a creative director?

I don’t just direct; I sell emotions for a living.

My approach to creative direction is rooted in impact. I craft ads that don’t just look great but drive real results, whether it’s generating leads, increasing revenue, or building brand affinity. Every stage, from scripting to production, is intentional, ensuring the vision comes to life while meeting the business objective.

At the heart of my process is emotion. I believe the right emotions drive action, so I focus on weaving them into the script, ensuring that every scene, line, and visual resonates with the audience. And because the final consumer is key, I advocate for them, creating stories that not only engage but move them to act.

Who are the people who have served as mentors on your journey as a creative director?

There have been a couple of people on my journey. Editi Effiong, Founder, Anakle and Director of Black Book, Munachi Ekpo, CEO of Anakle, Babatunde Onilude, Director of Product Management and Business Development for Intelligra, Paul Otu Divisional Head, Design, Research & User Experience at Interswitch, Oluwapelumi Mogbiele-Peters, Head of Products, Cohort Labs and Faith Davies,

What does the future hold for you and Krewstar Studios?

We are working on a new commercial for a major fintech player. I am also working on a short film this year. Last year, we released a short film that was under 4 minutes. I am looking forward to working on a lengthier one this year. At least 30 minutes.