Bringing the curtain down on his acclaimed debut album era, Danish/Kosovo-Albanian artist GIMI dives headfirst into the shadows with the video for “DADDY.” Directed by Malthe Kalbakk, the film serves as the final visual chapter of Greatest Hits, chronicling the electric ritual of nocturnal desire on one of Copenhagen’s most storied cruising grounds.
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Lensed on a freezing winter night across the desolate brush of Amager Fælled by cinematographer Christoffer Torp, the visual bypasses explicit sex entirely. Instead, it lingers on everything preceding it: the lingering stare held a beat too long, the slow territorial circling, the mist in the air, and the quiet choreography of the hunt. Casting four older men directly through Grindr, GIMI places himself at the center of an intergenerational dance that honors queer history—a nod to the parks and neglected public spaces that served as fragile sanctuaries long before algorithms and digital dating apps dictated connection.
“For so long, queer intimacy had to live in the dark, in glances and silences and places no one else was watching. I wanted to make a film about that tension, and bring it into the light,” shares GIMI.
Sonically, “DADDY” marks the darkest, most relentless corridor of Greatest Hits. Driven by a pulsing four-on-the-floor kick, the track fuses traditional Balkan percussion and Albanian folk motifs with razor-sharp electronic club production. It is a work about subverting power dynamics, confronting internalized shame, and unapologetically owning taboos.
A graduate of Copenhagen’s forward-thinking Rhythmic Music Conservatory—the fertile ground that nurtured peers like Erika de Casier, Smerz, ML Buch, and Astrid Sonne—GIMI continues to bridge early-2000s MTV pop idolatry with underground European electronic grit. Having premiered to a rapturous reception at the Prishtina Queer Festival, “DADDY” stands as a raw, fearless celebration of queer sanctuary, cruising culture, and bodily autonomy.
