Hannah Jadagu — Doing Now

JUL 01 2025 · 12:00

Hannah Jadagu — Doing Now (2025) Director: Sam Wilbert Era: Mid-2020s Indie Alt-Pop Era (2025) - A moment of DIY-rooted indie artists graduating to Sub Pop-backed major-indie production while retaining bedroom-pop warmth and lo-fi sensibility High curatorial value as a document of a significant transitional moment in Hannah Jadagu's career and in 2020s indie alt-pop broadly. The video's confirmed director credit, sport-concept framing, and quantitatively warm/kinetic production signature make it a well-rounded archival artifact. Particularly valuable for studying how Sub Pop-era artists negotiate DIY aesthetic legacy with increasing production resources, and for documenting the expanding presence of Black women artists in indie and alternative video traditions. Context: Released in 2025 as a single from Hannah Jadagu's sophomore album Describe on Sub Pop, 'Doing Now' represents a pivotal moment in the career arc of an artist who began recording on an iPhone 7 and built a fanbase through lo-fi bedroom pop before earning critical acclaim from NPR and The New York Times. The video arrives during a broader cultural moment in which young Black women are reshaping indie and alternative spaces historically dominated by white artists. The basketball-themed visual concept connects emotional interiority — the song addresses longing and presence amid the demands of touring — to an accessible, communal American leisure setting, democratizing the video's visual language while reinforcing the song's themes of longing for shared physical time. Director notes: The 'Doing Now' video is described by Stereogum as 'basketball-themed,' consistent with the video's high motion score (8.02), fast editing pace (avg shot 2.62s, 75 scene changes), and warm/outdoor brightness profile. The visual warmth (color temp 2.09, brightness 83.66/255) and moderate saturation (81.06) suggest natural-light outdoor shooting, likely on or around a basketball court. The low contrast (44.86) and warm mood classification align with late-afternoon or golden-hour shooting conditions. Wilbert's approach mirrors the song's collage-like sonic structure — described by Sub Pop as combining 'a deceptively simple guitar melody with hypnotic vocals' — translating the audio's layered intimacy into rapid, kinetically edited visual fragments.