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'Destroy Lonely - no el alcalde (video musical oficial)'

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Destroy Lonely

Este vídeo ha sido tendencia en Papúa Nueva Guinea, Estados Unidos y Canadá

Destroy Lonely opens the video in an industrial corridor illuminated by red and green strobe lights that immediately set the grim and futuristic tone of 'not the mayor.' The camera moves with a fisheye effect and quick cuts that accompany the minimalist beat and the thumping bass line. The rapper strides between metal pipes, dense smoke, and glitching flashes while making it clear, with his relaxed delivery and characteristic drawl, that he answers to no authority; he 'is not the mayor,' he is the outsider who sets his own rules.

The clip alternates shots of Destroy Lonely in a luxurious black sedan, cruising through the city at night, with sequences indoors where the Opium styling dominates: dark leather, studs, silver jewelry, and oversized sunglasses. Each frame is saturated with grainy filters that reinforce the underground atmosphere. The LED lights blink in time with the 808, and the urban backdrop—empty garages, concrete tunnels, and silhouettes of skyscrapers—emphasizes the sense of isolation that surrounds the artist.

Throughout the video, the visual narrative plays with the idea of multiplying Destroy Lonely through mirrors, shadows, and digital cloning effects. This motif reflects the lyrics: the rapper finds himself surrounded by versions of himself because he only trusts his own judgment. The production, helmed by Clayco, maintains a line of ethereal synthesizers and dry percussion that accentuates the hypnotic cadence of the main verse and turns each chorus into a mantra.

Towards the end, the lighting shifts to cool blue and violet tones, and the camera pulls back to show Destroy Lonely on top of a rooftop with the city blurred in the background. With a final abrupt cut to black and the echo of the phrase 'I’m not the mayor,' the video concludes leaving an impression of mysticism and self-sufficiency: a visual manifesto of how the Atlanta artist redefines his place in the trap scene without seeking external validation

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