Chromakopia: Tyler the Creator’s Most Authentic Work Yet

Everything I thought I knew has completely shifted. Tyler, The Creator expresses his disbelief over the current state of the music industry. The tracks that have been out for just three weeks are climbing the charts faster than his classic records, leaving him in awe of the rapid changes in listeners’ preferences and trends in the music landscape.

On a brisk Tuesday afternoon in mid-November, Tyler is grappling with the unexpected success of his latest album, Chromakopia. The response has been overwhelming and unlike anything he has experienced in his career. “It’s been a f–king crack in my reality, for this album where I’m just crying about being 33 like a b–ch,” he admits, reflecting on the emotional weight of his new music and the personal themes it explores.

Just three days prior to our conversation, Tyler had delivered a captivating performance at the Camp Flog Gnaw Carnival, a two-day music festival he founded in Los Angeles back in 2012. This year’s event marked the 10th anniversary, a significant milestone for a festival that began with just seven acts. Now, it resembles a more intimate version of Coachella, featuring music, food, rides, and merchandise from Tyler’s GOLF line in the parking lot of Dodger Stadium, creating an immersive experience for local fans.

At the Flog Gnaw festival, Tyler took to the stage atop a shipping container, donning a vibrant green suit reminiscent of a bellhop from a whimsical Emerald City. His outfit was completed with a striking bust-like mask with eye holes and an Afro styled with peaks and valleys, drawing inspiration from Janet Jackson’s Rhythm Nation. Tyler humorously described his look as a mix of “Captain Crunch” and “a gay dictator.” This striking ensemble represented the character he embodies in his new album, which he presents as both haunting and militant. After performing the first four tracks, he paused to express his gratitude to the audience for their support and shared the thrilling news that Chromakopia had secured the No. 1 spot on the Billboard 200 for a third consecutive week. Only Taylor Swift and Sabrina Carpenter achieved this in 2024. “To do that, at my 10th carnival, in my f–king city, what are we talking about?” The crowd erupted in cheers for him and for themselves, celebrating their collective achievement.

Choosing to release his album on a Monday rather than the conventional Friday, Tyler aimed to give his fans a fresh start to their week with Chromakopia. This decision reflected three key aspects of his personality: prioritizing the music, challenging industry conventions, and a strong belief that his dedicated fans would support him regardless of the day. “The hope was that people listened actively, not alongside thousands of other things that come out every Friday,” explains Jen Mallory, president of Columbia Records, which has been behind Tyler’s releases since 2017’s Flower Boy. “Sure, launching in the middle of the week is unconventional in today’s market, but the creative output he paired with the album—such as visual trailers, touring announcements, and live events—made it undeniable. The overwhelmingly positive reaction indicates that his approach was spot on.”

“I kept telling n—as for a year-and-a-half, ‘Whatever I put out next, I’m putting that b–ch out on a Monday,’” Tyler asserts confidently. “I’m not doing that stupid Friday s–t. We’re putting that s–t out on Monday and everyone’s going to know about it.” His bold strategy paid off, as he achieved the top position that week, even with a shorter sales timeframe. Only Beyoncé, Swift, Carpenter, Travis Scott, Billie Eilish, and Kendrick Lamar had larger first-week sales in 2024. “I knew people would be interested,” he reflects with a mix of confusion and pride. “But I didn’t expect this.”

After his brief speech at Flog Gnaw, Tyler seamlessly transitioned into performing songs from his extensive catalog. However, even as the audience enjoyed classics like “Dogtooth” and “Lumberjack,” there was a notable anticipation for him to return to the new album. Typically, festival-goers are there to hear their favorite tracks, but that particular Saturday night, fans were eager to experience the new material from Chromakopia, which they had been playing non-stop since its release just 20 days prior. As he journeyed through the tracks of his eighth studio album, the crowd sang along fervently, reciting every lyric, ad-lib, and chant, even the recordings of his mother that feature throughout the album, echoing like a comforting voice in the nighttime California sky.

During the lively performance of “Sticky,” a fun and upbeat track infused with horns and whistle sounds, Tyler teamed up with Sexyy Red for a dynamic duet that got the crowd moving. “I wanted something for the drill team at the f–king pep rallies,” he explained. His vision came to life earlier in the day when Jackson State University’s Sonic Boom of the South performed the song during their matchup against Alabama State. Tyler also invited his friend ScHoolboy Q—one of the few trusted allies in the music industry—to join him for “Thought I Was Dead.” Shortly after, he collaborated with Doechii and Daniel Caesar on “Balloon,” igniting a chant of “Doechii, Doechii” from the ecstatic crowd as he expressed gratitude to Caesar for his contributions to Chromakopia. The atmosphere was filled with love and appreciation, both from the audience and on stage.

“I have friends who’ve attended nearly every one of my shows,” Tyler remarked after Flog Gnaw concluded, “and they told me, ‘That’s the loudest crowd I’ve ever heard.’”

Having witnessed the fervor Tyler inspires in his hometown, I recall seeing him perform in June at the Kia Forum in Inglewood, not far from where he grew up. Interestingly, this wasn’t even his show—it was The Pop Out: Ken & Friends, marking Lamar’s first concert since the public fallout with Drake in the spring. “I wasn’t even supposed to go—I was in Atlanta working on this album,” Tyler explained. “But I landed that morning and couldn’t miss this s–t. I don’t even get FOMO, n—a—I’ll go to sleep. But I’m cool with Kenny, Dave [Free], and Tim [Hinshaw] from Free Lunch, so I went home, showered, and headed straight there.”

During that concert, he performed two songs, including “Earfquake” from his acclaimed 2019 album, IGOR. The energy in the Forum was electric, with seemingly every attendee knowing the lyrics by heart. “I genuinely think I’m better at my R&B singing s–t as a whole than my rap s–t,” he confided. “And those are usually my biggest records.” When Tyler shouted, “Say what!,” the entire audience transformed into a Southern California Community Choir, passionately singing, “Don’t leeeeeeeeeeeeeeave, it’s my fault.”

Tyler has consistently challenged the conventional notions of what a pop star can represent. Through various personas, evolving styles, and diverse subject matter in his lyrics, he has grown exponentially. While he may not have been primarily identified with the Los Angeles hip-hop scene in the past, he is now undeniably a pivotal figure in the city’s current flourishing music landscape, contributing to what makes L.A. a unique hub for hip-hop culture.

“I’m truly rooted in this city,” he states, and as he speaks about Los Angeles, his accent becomes more pronounced, showcasing his deep connection to his hometown. This passion for L.A. is what inspired him to establish Flog Gnaw. “Outside of sports, it felt like L.A. didn’t have something unique to call its own.” This year’s lineup—featuring artists like Staples, Kaytranada, Playboi Carti, André 3000, Erykah Badu, Denzel Curry, Faye Webster, Blood Orange, and Syd—was a realization of his desire to create a platform for local talent. “I’m thrilled that Flog Gnaw gives people from the city a sense of ownership,” he adds, a hint of pride in his voice. “At least that’s how it feels every year.”

“I’m no longer who I was at 20, and I’m not even who I was a year ago,” Tyler professes, his tone expressing slight annoyance at the notion of being confined to an outdated identity. “When people say, ‘I want the old version,’ it’s clear they’re still stuck there. But I’ve moved on, and that’s perfectly fine because my identity isn’t tied to any single version of myself.”

My first encounter with Tyler, The Creator was in 2012, at the Hammerstein Ballroom in Midtown Manhattan. His rap collective, Odd Future Wolf Gang Kill Them All (OFWGKTA), had skyrocketed to fame online, not only for their provocative music but also for their antics that echoed the Black evolution of Jackass. The buzz surrounding the show was palpable, drawing both rap enthusiasts and eager young music bloggers, all curious to see if the phenomenon could be replicated in a live setting.

While many in the audience anticipated surprise appearances from former members Earl Sweatshirt and Frank Ocean, it was Tyler, the de facto leader and provocateur of the group, who stole the spotlight. He had gained notoriety through his 2009 debut album, Bastard, and the following year’s Radical mixtape, both recognized for their distinct production style and shocking lyrics. However, Tyler’s true breakthrough moment came in 2011 with his nationally televised appearance on Late Night With Jimmy Fallon, where he tweeted beforehand, “I want to scare the f–k out of old white people living in middle f–king America.”

He fulfilled that promise during a performance of “Sandwitches” from his second album, 2011’s Goblin, alongside fellow Odd Future rapper Hodgy Beats, backed by The Roots. Dressed in ski masks, they raced around the stage like it was a hardcore show, while the camera occasionally cut to unsettling garden gnomes and a haunting girl with dark hair obscuring her face, reminiscent of a character from The Ring. Tyler’s performance culminated in a cultural reset, an unforgettable television moment that left a lasting impression.

Like many attendees at that Hammerstein show, I sought to experience the same energy as Tyler had on Fallon. While he delivered an electrifying performance that night, my lasting impression was not just of his leadership but also of his unwavering support for his fellow Odd Future members. When Frank sat at the piano to perform “White,” Tyler stepped aside, pulling out a Polaroid camera to capture the moment. As Earl, in his first performance in two years, delivered his verse on “Oldie,” Tyler invited their entire crew onstage, creating a powerful visual representation of a musical and cultural movement that deserved recognition.

Tyler, The Creator embodies a genuine enthusiasm for the things he loves. He’s an ardent fan, a quality that often gets overshadowed by the pressures of his ascent to stardom. During our conversation, just days before his Flog Gnaw performance, Tyler was seen alongside his longtime managers, Christian and Kelly Clancy, excitedly examining something on his phone. Someone had sent him a clip of Pharrell Williams’ performance—something he had been searching for over the past decade. His reaction was a blend of pure joy, reminiscent of a child on Christmas morning, and it was captivating to witness a star so profoundly inspired by his influences.

“The artists who have guided me, if you generalize, were always a bit off-kilter,” Tyler shares. It’s no surprise that he chose to follow suit, both musically and aesthetically. “If I’m 12 and people at school are saying, ‘That’s weird, that’s wack,’ I’m thinking, ‘But the n—as on my walls think it’s cool. And y’all can’t compete with them. So f–k y’all.’”

This mindset is a significant part of what makes Tyler a unique artist. He isn’t constrained by the fear of failure, a common hindrance that stifles creativity for many. Additionally, his mother, Bonita Smith, has been a driving influence. “I received hugs at home,” Tyler reflects. “I feel fortunate to have grown up in a loving environment, filled with encouragement, where my mother always said, ‘Be yourself,’ ‘Do your thing,’ ‘F–k what others think,’ and ‘I’m in your corner.’” On the first track of Chromakopia, “St. Chroma,” she proclaims, “Don’t you ever, in your motherf–king life, dim your light for nobody.” Her influence, combined with teenage rebellion and the lessons learned from his favorite artists,