Bro, everything I thought I knew was gone. I thought I had a grasp on s–t. The songs that’s been out three weeks went up more than the classic records.”

It’s an early Tuesday afternoon in mid-­November and Tyler, The Creator is still in disbelief. Just a few weeks earlier, he’d released his new album, Chromakopia, and the response was unlike any in his entire 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.”

Three days before our conversation, he’d performed a set largely dedicated to the album at Camp Flog Gnaw Carnival, a two-day music festival in Los Angeles that he started in 2012 and continues to curate. This year was the 10th edition, a triumphant moment for an event that began with seven acts and now feels like a smaller, more walkable Coachella for locals — complete with music and food and rides and merch and fashionable selections from Tyler’s line GOLF — in the Dodger Stadium parking lot.

At Flog Gnaw, Tyler took the stage atop a shipping container, wearing a green suit fit for a bellhop in a slightly bizarro Emerald City, a bust-like mask with cutout holes for his eyes and an Afro with two peaks and a valley between them — an ensemble with hints of Janet Jackson circa Rhythm Nation (at least from the neck down), and which Tyler described to me as both “Captain Crunch” and “a gay dictator.” It’s the uniform of the character he takes on for his new album, both haunting and militant, the latest alter ego the Hawthorne, Calif., native has assumed. After performing the first four tracks, he paused to thank those in the audience for their love — and let them know that Chromakopia was No. 1 on the Billboard 200 for a third straight week. Only Taylor Swift and Sabrina Carpenter did three straight weeks in 2024. “To do that, at my 10th carnival, in my f–king city, what are we talking about?” The crowd cheered for him and themselves: Together, they did it.

Tyler released his album on a Monday instead of the standard Friday; he wanted people to start their week with Chromakopia instead of in the middle of the night as their weekend began. The decision reflected three distinct sides of his personality — putting the music over everything, rejecting industry norms and a confidence that, regardless of the day of the week, his fans will show up. “The hope was that people listened actively, not alongside thousands of other things that come out every Friday,” says Jen Mallory, president of Columbia Records, which has been releasing Tyler’s music since 2017’s Flower Boy. “Of course, shortening the release week is not an instinctive idea in today’s market, but when you deliver the creative T did alongside the album — visual trailers, touring announcements, live events and more — it was undeniable. And the absolutely massive response indicates that his hypothesis was more than correct.”

“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 says. “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.” The plan worked, with Tyler hitting the top spot that week, even while handicapping himself with a shortened sales week. Only Beyoncé, Swift, Carpenter, Travis Scott, Billie Eilish and Kendrick Lamar had bigger first weeks in 2024. “I knew people would be interested,” he says with a confusion that he’s embracing. “But I didn’t expect this.”

Following his short Flog Gnaw speech, he ­transitioned into songs from his catalog. But even as fans enjoyed his earlier material — belting every word of “Dogtooth,” moshing to “Lumberjack” — there was a palpable eagerness for Tyler to get back to the new album. The opposite is typically true at festivals; an artist’s faithful primarily in attendance to see their favorite bring the hits to life. But that Saturday night, Tyler was performing for people who hadn’t turned off Chromakopia since its release 20 days prior. And as he marched through his eighth studio album, the crowd was right with him, screaming along to every lyric, ­ad-lib, chant — even Tyler’s recordings of his mother that appear throughout the album and rang out as if she was the voice of the nighttime California sky.

Tyler and Sexyy Red traded verses and threw ass at the crowd during “Sticky,” a big fun song built around horns and whistles and beating on the cafeteria table. “I wanted something for the drill team at the f–king pep rallies,” Tyler told me, “something for the band to play at halftime.” His wish came true before his performance; Jackson State University’s Sonic Boom of the South broke it out earlier in the day in its matchup against Alabama State. He brought out ­ScHoolboy Q — whom Tyler describes as one of his few real friends in the music industry — for “Thought I Was Dead,” and, 10 minutes later, he performed “Balloon” with Doechii and Daniel Caesar, fueling a “Doechii, Doechii” chant and thanking Caesar for his help in finishing Chromakopia. The love and appreciation was at an all-time high, both in the crowd and onstage.

“I have friends that’s been to about every show,” Tyler says after Flog Gnaw is over, “and they were like, ‘That’s the loudest crowd I’ve ever heard.’ ”

I was prepared for the adoration Tyler gets in his city because I saw him in June at the Kia Forum in Inglewood, up the street from where he grew up. It wasn’t even his show — this was The Pop Out: Ken & Friends, Lamar’s first concert since his beef began in the spring with Drake. “I wasn’t even supposed to go — I was in Atlanta working on this album,” Tyler explains. “But I landed that morning and couldn’t miss this s–t. And I don’t even get FOMO at all, n—a — I’ll go to sleep. But I’m cool with Kenny and Dave [Free] and Tim [Hinshaw] from Free Lunch. So I went home, showered and ran straight there.”

He performed two songs, including “Earfquake” from his 2019 album, IGOR. Seemingly everyone at the Forum knew every word. “I genuinely think I’m better at my R&B singing s–t as a whole than my rap s–t,” he tells me. “And those are usually my biggest records.” And when Tyler screamed “Say what!,” the capacity crowd turned into the Southern California Community Choir, belting, “Don’t leeeeeeeeeeeeeeave, it’s my fault.”

For years, Tyler has continued to complicate what a pop star can embody. He’s taken on different personas, different looks, rapped about different things and keeps getting bigger and bigger. But as he’s become one of popular music’s most reliable and admired mavericks, he’s existed outside of the L.A. hip-hop zeitgeist. The city wasn’t a leading identifier for him, at least compared with a Lamar, a YG, a Vince Staples. But he’s central to the current historic run of Los Angeles music, as well as the community that makes L.A. one of the special hubs for hip-hop.

“I’m really from the city,” he says. As he continues to talk about home, his accent gets thicker and thicker. That love for Los Angeles is why he started Flog Gnaw in the first place: “Outside of sports stuff, it felt like L.A. didn’t have something that was its own thing.” With this year’s fantasy lineup — including Staples, Kaytranada, Playboi Carti, André 3000, Erykah Badu, Denzel Curry, Faye Webster, Blood Orange and Syd — Tyler’s wish to at least somewhat correct this came true. “I’m happy that Flog Gnaw has folks from the city feeling like this is theirs,” he says a bit coyly. “At least that’s what it feels like every year.”

“I’m not who they were introduced to at 20. I’m not even who I was a year ago,” Tyler says, sounding a bit annoyed at the notion that he possibly could be. “When they’re like, ‘I want the old version,’ I know it’s because they’re still there. But I’m not. And I’m OK with it because my identity doesn’t rest in a version of myself.”

I first saw Tyler, The Creator perform in 2012 at the Hammerstein Ballroom in Midtown Manhattan. His rap collective, Odd Future Wolf Gang Kill Them All (OFWGKTA), had become an online sensation over the last few years — not just for its transgressive music, but also for antics that felt like the Black evolution of Jackass — and there was a level of buzz around the show, both from the rap-fan concertgoers and the young music bloggers eager to see if the phenomenon would translate offline.

While some in the audience anticipated possible appearances by erstwhile members Earl Sweatshirt and Frank Ocean, it was Tyler, the gang’s de facto leader and chief provocateur, who defined the show. He’d mostly been known for his 2009 debut album, Bastard, and the Odd Future mixtape Radical that came the following year, both notable for their distinctive production and shocking lyrics. But Tyler’s true star turn came in 2011 on Late Night With Jimmy Fallon, Odd Future’s first nationally televised appearance. Beforehand, Tyler tweeted, “I want to scare the f–k out of old white people that live in middle f–king America.”

He kept his word, as he and fellow Odd Future rapper Hodgy Beats performed “Sandwitches” from Tyler’s second album, 2011’s Goblin, backed by The Roots. They wore ski masks and raced around the stage like it was a hardcore show as the camera occasionally panned to scattered garden gnomes and this one creepy white girl floating around the band, her long dark hair covering her face like she was in The Ring. Tyler eventually left the stage, ran to Fallon’s desk and finished the episode on the host’s back. It was a cultural reset — an undeniable TV moment.

Like many at that 2012 Hammerstein show, I wanted to feel that Fallon energy in real life. And while Tyler did replicate it there, my own takeaway was very different: Yes, he was the leader, a true frontman, but even more so, he was head cheerleader for every Odd Future member. When Frank sat at the piano and sang “White,” Tyler went to the side, pulled out a Polaroid camera and started taking photos. As Earl, in his first performance in two years, pushed through his verse on “Oldie,” Tyler brought their entire crew onstage to back him — a wall of support, a visualization of a musical and cultural movement that deserved attention.

Tyler, The Creator loves to love things. He’s a fan of the highest order, a quality that often gets lost during a climb to the top and a trait of his that hasn’t wavered to this day. When I arrived for our first of two conversations for this story, a couple of days before his Flog Gnaw performance, Tyler was standing with his longtime managers, Christian and Kelly Clancy, obsessing over something on his phone. Someone had sent Tyler a Pharrell Williams performance clip, one he’d been hunting for for the last decade, and his mood was a mix of Christmas morning, winning the lottery and discovering buried treasure. His enthusiasm was entrancing: a star whose inspirations still made him feel like a little kid.

“The ones who were the North Star for me, if you generalize it, they were always left of center,” Tyler says. So it’s no shock that he decided to musically and aesthetically follow suit. “If I’m 12 and folks at school are like, ‘That’s weird, that’s wack,’ I’m like, ‘But the n—as on my walls will think it’s cool. And y’all can’t compare to them. So f–k y’all.’ ”

That mentality is part of what makes him a singular artist. He isn’t shackled by the fear of failure, the driving force that stifles creativity. The other driving force comes from his mother, Bonita Smith. “I got hugs at home,” Tyler proudly says. “I’m very lucky and grateful to have grown up in a house full of love, with a cheerleader that was like, ‘Be yourself,’ ‘Do what you want,’ ‘F–k what they think,’ ‘I’m your friend.’ ” On Chromakopia’s first track, “St. Chroma,” she says, “Don’t you ever, in your motherf–king life, dim your light for nobody.” The combination of her influence, teenage rebellion and the blueprints left by his favorite artists gave him a confidence that became foundational. “I have no choice but to be opinionated and don’t care if I look dumb as f–k. Even if I change my mind the next day.”

Chromakopia, like most of Tyler’s discography, tells the story of his life in the present. “Everything is self-indulgent to me,” he says about making songs, because he’s not doing it to be relatable or appease an audience or some former version of his fandom. Few artists have as honest and combative of a relationship with listeners as Tyler. He’s constantly vacillating between inspiration and frustration. He loves watching people respond to his tweets about favorite lyrics and songs, what grew on them, what they hated at first. Because it’s not about whether you like his music or not — it’s that he craves true engagement. “Expound on that f–king thought, b–ch,” Tyler says of the opinions, the comments, the takes, the lack of articulation about why you like or dislike something. “If I was president, the first thing I would do is take podcast mics away from n—as.”

It can be risky for artists to abandon the sound or subject matter that gave them initial fame, a decision that some fans treat as a betrayal. But this album, much like 2017’s Flower Boy, 2019’s IGOR and 2021’s Call Me If You Get Lost, is a time capsule, a front-row seat to the life and mind and current creative headspace of Tyler Okonma. On Chromakopia, he explores themes ranging from monogamy (“Darling, I”) to unplanned pregnancies and fatherhood (“Hey Jane”) to the trappings of fame that run throughout the album. “It’s people saying that they can’t relate to the song,” Tyler says of “Noid,” the first single. “Of course you can’t. That’s why I made the song, because you don’t know what it’s like not to go outside and not own yourself, people stealing from you, voice-recording you, following n—as home, people trying to trap you — nobody trying to trap y’all n—as. I’m a catch.”

The album is deeply personal. “I’m a super extrovert, but I’m a very private person with my life,” Tyler says, “so putting some of this stuff on wax was a lot for me.” The day after Chromakopia’s release at a show in Atlanta, he went further: “It’s so honest that I think I had to wear a mask on my own face to get that s–t out.” He faces those fears on the album’s aptly titled emotional high point, “Take Your Mask Off,” and when he performed it at Flog Gnaw, by the song’s conclusion, his mask was gone.

Tyler does have a level of maturity that can come from growing up in public, which, as he points out, he did: “I’ve been famous and financially stable since I was 19, on my own since 16.” And now, at 33, he’s a veteran, making music about getting older and what it feels like. “I told my homie, ‘This is the 30s album,’ ” Tyler says. “This album is probably s–t that folks go through at 24, but I’ve lived a different life. N—as around me are having kids and families and really being adults and I’m over here like, ‘I think I’m going to paint my car pink.’ That feels crazy, but it’s all I know.”

And the reception to Chromakopia makes it clear that plenty of Tyler’s listeners do share his worries, anxieties, dilemmas. “People are connecting with the words in a way that feels bigger than me,” he says. “I’ve never hit people at this level.”

When I ask him about the album’s closer, “I Hope You Find Your Way Home,” he lights up. “I think the way you end an album is so important!” he exclaims. From Kevin Kendricks’ neck-tingling synthesizer to Tyler’s own background vocals alongside Daniel Caesar and Solange Knowles to his grand finale of a rap verse, it’s a reflection and a resolution, one filled with hope for our respective journeys ahead. “I knew that’s how I wanted to end it, with the synth, just letting n—as sit there and think about whatever the f–k just happened,” he says, clearly thrilled with the way he landed the plane.

But for Tyler, uncertainty about the future is also a source of joy. He’s currently dipping his toe back into acting, with his first feature film, the Josh Safdie-directed, Timothée Chalamet-starring Marty Supreme, on the horizon. “This is where I am at 33; who knows what I’ll be making at 36,” he says. “My 30s have been so much iller than my 20s. I’m excited for us to be 43 years old and see where we’ve taken it. I don’t know what the f–k I’m doing at that point, maybe bald — with one braid and a dangling earring, making gospel, telling everyone about the zucchinis.”

Whatever it is, he’s excited, as always, by the unknown. “I’ve never not stuck to my guns. Any version y’all see me in is the most honest version at that time,” Tyler says. He’s brash and bold and uncompromising about his art, but it’s also clear how grateful he feels. “I’m so blessed and fortunate. Thirteen years in and my latest s–t is my biggest. Sometimes it’s like, ‘What the f–k, this can’t be real.’ But then it’s also like, ‘I told y’all.’ It’s beautiful.”

This story appears in the Dec. 14, 2024, issue of Billboard.