The narrative for Crayon bore so much difference, a year ago. An exciting talent with a bag of abilities, known to infuse so much dynamism into a record via his precise hooks and aptly delivered verses, all were not flowing for an artist with a bubbling personality.
All changed in May. Overloading, a mid-tempo Afropop number from the stables of Mavin Records—the entertainment powerhouse Crayon is signed to—featured his powering hook which was the highlight of the record. His star performance was unmissable, attracting nods from colleagues, enthusiasts and ultimately branding him in a new regalia. Spurred by that euphoria, Crayon seized that moment, ushering in a new release less than a month after. Ijo delightfully crafted with Afrobeats beat maestro, Sarz supplied the fun and excitement Lagos club dancefloors needed at that moment, eliciting the complementary dance movement that was originally the source of that record.
It’s been a whirlwind year so far for the joyful artist. The fun, joy, and happiness hasn’t gone down a bit. We sit down to converse on a cloudy Tuesday evening, virtually, Crayon having just wrapped up a studio session. There are plans in place for his long-awaited debut album, due to drop this year, a new single is on the horizon and Crayon is wasting no time in bringing more and more people into his carefree world.
Your mood was probably different, a year ago.
“Yes, it was. 2021 was more of me reflecting and pondering on what I was doing wrong. I’d say Twelve AM, my second EP was like a refresher, and also it made me think of what the audience really wants from you as an artist.
“You could be in a particular headspace, having a set direction on what you want to do, but the way Afrobeats is going, sometimes as an artist you need to look at interesting points on what’s driving people to love a particular record. I tried to innovate with the record I dropped in December with Toby Shang who’s like a hypeman. And also around that period, hypemen-related music was gaining traction on social media and even offline. But maybe that didn’t work and that as an artist can make you worried.”
For a lot of people just discovering you, you have a passion for football, which you champion a lot, particularly your love for Manchester United. Why was it music and not football?
“I’ve always said, if I wasn’t doing music, I could have easily been a footballer. And why it was music was, my childhood had to do with a lot of music. My Dad used to be an event host, he also had a record store in Lagos, so it was natural to hear music in the house a lot. I listened to a variety of songs from Wizkid, Wande Coal, 50 Cent, and Celine Dion.
“And why it was music I settled for was because it got to a point I tried getting into the university, many times. It didn’t work out. Then I started considering my options, it was either football or music and thinking deeply about it, making it out of the hood with football in Nigeria was going to be hard. You’d either have money or some top-level connections.
“I settled for music and before that time, my parents were helping, supporting me with cash to go for events and also paying for my studio sessions.”
You signed to Mavin, how did that happen? It’s rumored you and Rema were the first set of artists to be developed by the label.
“Yes, it’s true. But the story is way deeper than that. After I made the decision to settle for music, I began to develop myself. And you know how life goes if you’re talented, you attract talented people too. So I met Ozedikus, the guy who produced Dumebi for Rema. This was in 2016 and he was still learning how to produce, we were in a place called Ojo in Lagos, we recorded a lot of songs, some he didn’t even charge me for.
“After the song drops, I’d post it on each of my socials, I wasn’t social media savvy then. Sometimes I’d even put the link to the song in the caption. But I was posting a lot on Instagram. I didn’t know how the song got to Mavin, Seun, who’s a friend was always playing at Mavin’s Headquarters.
“Baby Fresh, a producer there heard the song and sent me a DM and asked me to come to the studio with my producer, Ozedikus.
“Don Jazzy was impressed with one of my songs, Long Throat and told me to keep coming to the studio. 2018, I moved into Mavin HQ. Seeing a lot of superstars like Reekado Banks, Iyanya, Tiwa Savage every day, I was always motivated to also have a career like them. There were a couple of times Wizkid would come as well and the whole period was a learning process. I got to learn more about the music business, lifestyle, and imagery because all I had then was the talent, I barely knew about the business side.”
Tell me about Too Correct with Rema. I felt that was a smash hit the period it dropped.
“For me and Rema, one thing we did while we were being groomed in 2018 was anytime he was recording, I won’t be there. Anytime I was recording also, he won’t be there. We were still finding our sound.
So to Too Correct, that’s like my quickest session over. In less than an hour, Rema and I were done with the full song. And I think it’s down to the topic and also shoutout to AndreVibez for that beat, I felt it brought out our abilities and gave us a direction. We were just talking about our lifestyle and reflecting on how far we’ve come.”
What are some life lessons you’ve learnt so far in your four years of being active in the industry?
“I’d say timing is everything. For some time, there was that statement of me being underrated. But 2022 was that year everyone in the industry noticed my abilities.
From 2020, I’d been consistently dropping, but success attracts people to you and changes some previous notions about you. And the music industry is an example. So I’d say patience and God’s timing.”
First, Overdose. And again, Ijo Labalaba. You totally transformed those songs with addictive hooks. Overdose grew an acceptance with young ones back home. What’s it about you and your hook duties on songs?
“It started with Overloading, and from there on that momentum has gone on to songs like Ijo and Wondamo. In-house at Mavin, a member of my A&R team, Vaedar began to call me Captain Hook and that name is not just based on qualification. It was just God and the fact that any hook I carry is always good. We say something here in Lagos, Otilo, meaning it’s gone, it’s traveled places.”
How did that record with you and Sarz come about, Ijo Labalaba?
“I met Sarz in June 2019. We exchanged contacts but since then we haven’t really linked up in the studio like that.
But early in the year 2022, I reached out and he was like “let’s link up”.
The interesting thing is after that I got ill. I was in the hospital for months without my phone. And then I came back but before we linked up, Overloading was released and that song changed the underrated narrative for me.”
How?
“Before the video shoot, I was at home, just freestyling some dance moves. I tried doing the shoulder dance but I told myself I’d try it again when I get to the shoot tomorrow.
“On set, I did it and everyone liked it and Don Jazzy told me to own it. After the song’s release, I started promoting my own part of the song. Went to my school, got everyone talking, Wizkid showed me love on it and the song went viral.
“So when Sarz and I eventually linked up during that period, I went to his house and he played me four beats. I already took the four beats and was about to leave. And then he said there was a beat he was working on, and played it, it was just the piano loops on it, no drums. So that dance I was doing in Overloading, inspired the song, Ijo Labalaba. That’s what is called Ijo LabaLaba, which means butterfly, that is you’re putting your hands on your shoulder.”
Keep it locked on GRM Daily for all the latest in cutting edge music the world over. Be sure to check out our in-depth review of Davido’s fourth album, Timeless right here.