Essentials: Crayon’s ‘Cray Cray’ EP
A straightforward tour of his nascent and exciting abilities as an Afropop hitmaker
In a space where record labels haemorrhage into obscurity after the departure of one or more marquee acts, Mavin Records has remained a fixture despite losing bankable stars like Wande Coal, Reekado Banks and Tiwa Savage. An apparent part of this continued prominence is an innate understanding of how the Nigerian music market works and what it takes to usher new signees into the overcrowded pop canon.
Earlier this year, the Don Jazzy-led label put out their uber-celebratory “All Is In Order” single, introducing Crayon as the label’s newest acquisition, via producer Baby Fresh’s Blow Time imprint. A few weeks later, he would go on to perform the hook on Ladipoe’s “Based On Kpa”, but it was expected that a proper solo introduction to properly kick-start his career, would happen sooner rather than later.
Without any prior announcements, Crayon’s debut EP, ‘Cray Cray’ was released unto streaming services last Friday. It’s a move similar to the rollout that catalysed the meteoric rise of Mavin’s current golden child, Rema. But while Rema’s eponymous debut eased listeners into the pop-inclined side of his abilities, before indulging in his Trap fetish on a more recent ‘freestyles’ EP, Crayon’s debut is a straightforward tour of his nascent and exciting abilities as an Afropop artist.
“Call my number I go respond o, you are enough o”, he sings on the infectious hook of opener “So Fine”, assuring a love interest of her importance to him over a preppy mix of thumping 808 bass and oriental guitar strings. Melding the romantic sentiments and its dancefloor elements, “So Fine” immediately highlights Crayon’s well accomplished pop sensibilities, as well as his unsubtle aim to make wide appealing songs to gain radio spins and soundtrack jovial communal events, all of which he showcases on the other five songs that all listen like potential hit songs.
On the second track, “Unusual”, Crayon swaps pristine assuredness for lasciviousness, where he admires the figure 8 shape of an enchanting muse, atop the kind of pacy production destined to inspire viral videos of choreographed routines from the streets of Lagos to swanky dance studios in Los Angeles. The salacious mood carries over to the fourth track, “Gock Am”, albeit in more vivid terms, with the singer detailing the physical attributes of his muse, named Nneka, although his obsession still lies in her alluring waistline.
In as much as ‘Cray Cray’ is steeped in the well-worn clichés of Afropop, it makes for an impressive introduction because it is buoyed by Crayon’s youthful charm and a bubbly persona—one might even be tempted to say he’s the edgier version of fellow mavin Korede Bello. Case in point, the penultimate track “Confidence”, on which he radiates intoxicating levels of self-assuredness, mostly stemming from his affluent ability to buy out the bar, and also obliterating Ozedikuz’ blend of sparse piano riffs and bouncy Afropop drums—reminiscent of Wizkid’s “Soco”—in the process. Elsewhere, on the anthemic “Bamiloke”, Crayon sings “I don hustle so I must pop”, throwing in cocksure brags while also encouraging listeners to enjoy life in its best moments.
Closing out the EP, “Aye O” leans into the more affecting qualities of his songwriting, where he paints a detailed portrait of a rags to riches story as a way to reinforce the popular aphorism of “where there is life, there is hope”, and also perfectly accentuated by groovy production comprising highlife guitars, growling bass guitars and lively drums. For an artist who was virtually unknown to Afropop listeners just two months ago, “Aye O” is a befitting closer for the colourful pack of songs that make up ‘Cray Cray’. In its entirety, the EP ultimately earmarks Crayon as one of Afropop’s potentially consistent hitmakers in coming years. Looks like Mavin got another one.
Stream Crayon’s ‘Cray Cray’ via Apple Music here.
Featured Image Credits: Instagram/Crayontthis
[mc4wp_form id=”26074″]
ICYMI: MAVIN RECORDS SECURES DEEP POCKET INVESTMENT FROM KUPANDA HOLDINGS, INVESTORS OF SPOTIFY, UBER
What OdumoduBlvck’s Greatest School Tour Could Mean For Touring In Nigeria
The rapper’s decision to embark on a local university tour of this nature could go on to become a...
There’s no denying that OdumoduBlvck’s 2023 mixtape ‘Eziokwu’ established his musical genius. While the half dozen projects that preceded ‘Eziokwu’ almost served as target practice, largely showcasing the early iterations of Okporoko music – his unique melodious rap fusion – it was his major label debut that truly grounded the rapper in Nigeria’s rich Hip-Hop lineage. The album’s far-reaching success culminated in a historic joint tour with fellow 2023 breakout star Shallipopi, which saw the two share the stage across 9 cities in the United States. Similarly, riding the high of his latest mixtape, ‘The Machine Is Coming,’ the Anti-World Gangstar head huncho recently announced a new tour. This time, however, instead of taking his new collection of infectious bangers to stages abroad, the rapper decided to visit different universities across the country for what he calls the ‘Greatest School Tour Ever.’
Touring in Nigeria is a subject that has become somewhat controversial over the last few years, splitting opinions amongst many fans, industry experts, and artists themselves. Back in the mid-2000s to early 2010s, local touring was very much the norm. Platforms like Star Music’s ‘The Trek,’ as well as a few prominent local promoters, enabled some of the biggest names like 2face, Olamide, and M.I to hold annual nationwide tours. These tours included stops in cities like Warri, Makurdi, Owerri and many other places that artists are less likely to visit today. University tours were also popular as they presented an avenue for these artists to connect with their younger audience, who mostly served as the bedrock of their fan base.
The rise of digital streaming platforms, which has partly informed the industry’s rapid evolution over the past decade, coupled with other economic and infrastructural issues, has, however, forced a sharp decline in local touring, making it an almost altruistic endeavour in today’s Nigeria. Afropop gaining global exposure meant that the international market immediately became more viable and lucrative to our biggest stars, and this reshaped their priorities. The extensive, multi-city shows became reserved for diaspora fans, while the local audience, in most cases, are treated to a solitary annual show.
OdumoduBlvck looks to buck this trend with the ‘Greatest School Tour Ever,’ prioritizing his primary audience before tending to those abroad. In truth, the Lagos-born rapper is not the only one who has embarked on this type of tour in recent times. A couple of years ago, UK-based rapper Kida Kudz and Ckay also went on similar campus tours, with the latter making stops at 10 different universities across the country. Llona, one of the breakout stars from last year, is also currently on a nationwide tour coming off the success of his impressive debut album ‘Homeless.’ The ‘Greatest School Tour Ever,’ is however, peculiar and momentous because of its timing and OdumoduBlvck’s standing as one of the biggest names around.
At the recent 17th Headies Awards, the rapper became the latest recipient of the Next Rated award, a highly coveted plaque that’s historically reserved for standout acts whose music defines the zeitgeist at a given period. He received the award just two days after he gave an electrifying performance at Afe Babalola University. His latest mixtape, ‘The Machine Is Coming,’ a precursor to his highly anticipated forthcoming debut, currently sits at the No. 2 spot on the Turntable Top 50 Album charts. It is unheard of in recent times: that the Headies Next Rated act, who has one of the top projects in the country, is on a local university tour. The Abuja-native has, however, shown on numerous occasions that he has never really been one to abide by existing standards. The famous opening lines from his breakout single “Declan Rice” (I can do without their Policy I Know), did not only serve as a message to gatekeepers and naysayers but also as a manifesto that declared his mode of operation going forward.
At the time of this writing, the rapper has only made two stops on his ongoing tour, but his decision to embark on a local tour of this nature already looks to be paying dividends. The first two shows have produced viral clips that capture his star power, the hysteria of his headline shows and his rapidly growing influence, especially amongst younger listeners. The viral clips have already created an increased demand for shows, with many young fans harassing the rapper to add more dates to the tour. With the release of ‘The Machine Is Coming’ and his recent crowning moment at the Headies, it’s safe to assume there’s more attention on him now than ever. While it is, of course, still early days, the rapper’s decision to embark on a local university tour, especially given that he’s currently experiencing a career high, could go on to become a significant moment, one that potentially inspires a shift in the touring landscape in Nigeria.
Keep reading...
NATIVE PREMIERE: Tanika Is Stepping Out On Her Terms With The Kida Kudz-Assisted “FAST FWD”
From working her way out of London’s Myatt’s Field, Tanika is now setting her sights on the bright lights...
Across a career that’s in its second decade, Tanika has proven to be a force in her own right, holding her own on collaborations with Black British stars like Stormzy and Wretch 32, as well as popular record producer Naughty Boy–working with the Grammy-nominated beatmaker on his acclaimed ‘Hotel Cabana’ album.
Following a stint as an actor, she returned to the studio in 2021, releasing a new extended play, ‘333,’ in 2023. The project carried all the hallmarks of Tanika at her tantalising best: lilting cadences, well-paced narratives, a songwriting that reaches for the heart of the matter.
On her latest song, “Fast Fwd,” she’s growing into her own and stepping into a new era. In many ways, “Fast Fwd,” a hypnotic, sultry anthem, is landing just in time for summer revelry. Produced by her longtime collaborator, Naughty Boy, her silky vocals land effortlessly on the mid-tempo instrumental and pulsates with her desire for her love interest.
Joined on the song by her fiancé, Kida Kudz, they make an interesting duo and replicate the synergy they had on “Nobody,” off Kudz’s 2021 ‘Top Memba.’ Distinctively marked by use of neon lights, the video for the song captures the effervescence of romance that Tanika hums about throughout the song.
From working her way out of London’s Myatt’s Field to becoming a star with millions of streams, Tanika is now setting her sights on the bright lights of superstardom. Ahead of the official release of the single, we had a brief chat with Tanika about her career, the influences for “Fast Fwd,” and working with KIda Kudz on it.
Her answers, which follow below, have been lightly edited for clarity.
How would you describe where you are in your career right now?
I’m just enjoying the journey.
What does the release of “Fast Fwd” signify for you?
It signifies love.
Why is Kida Kudz a fit for the song? (
To be honest, we didn’t plan to do another song together. I have worked on two records with him before (“Nobody” and “Tasty Time” ) but we never thought to shoot a video for it.. “Fast Fwd” felt like a real testimony of our present moment in the relationship.
You’ve worked extensively with Naughty Boy and he’s helped with “Fast Fwd,” what’s your relationship like and why does it work?
Naughty Boy knows me very well. We’ve known one another for over 10 years, so he knows what fits me musically. We gel. I think him knowing me and being a fan of Kida’s music made it all work. Naughty Boy does his listening before he makes a beat for you. A lot of producers don’t really understand the importance of knowing the artist musically but he does.
What were you aiming for with the video?
To be honest, I’m aiming for nothing. I’m just enjoying the journey. It’s been a very long road and I know I still have a long way to go.
Catch an exclusive view of “Fast Fwd” below.
Keep reading...
Vlisco’s “The Garden Of Sisterhood” Campaign Comes To Life in New “MAYANGA” Video
A celebration of creativity and cultural
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of its women’s month celebration. The campaign, which looks to extend Vlisco’s rich legacy in African fashion and its ongoing celebration of creativity and cultural storytelling, takes inspiration from Congolese musical icon Fally Ipupa’s latest single, “Mayanga.” The song’s accompanying music video was shot in the Ivory Coast, and seamlessly balances Ipupa’s signature soulful Rumba music with intricate floral motifs and soft, elegant colour palettes that celebrate the strength and individuality that blossoms through community.
In addition to Fally Ipupa, Vlisco also tapped up Ivorian fashion designer Loza Maléombho and Nigerian director Daniel Obasi to contribute to ‘The Garden Of Sisterhood’ campaign. Maléombho’s unique designs and Obasi’s striking storytelling helped contribute to actualising Vlisco’s distinct aesthetic and vision of merging heritage, creativity and fashion.
In a statement discussing the collaboration with Vlisco, the Congolese superstar described it as a beautiful experience. “They understood my vision of working with talented artists and honouring the beautiful women who wear Vlisco fabrics. By creating exclusive designs for me and the remarkable women in the cast, Vlisco really brought our artistic vision to life, harmoniously fusing music and fashion,” he said.
Similarly, Marlou van Engelen, the creative director of Vlisco, expressed that it was an honour working with Fally Ipupa. “His song ‘MAYANGA’ perfectly reflects our admiration for the women who shaped us, inspire us, and mean so much to us. For us, it’s not just about fashion; it’s about the stories told through our beautiful prints. And I believe the best stories are always told together,” she said in a statement.
View this post on Instagram
Keep reading...
