Crayon’s Masters Carried Mavin Global Holdings and Blowtime Entertainment for Six Years. Since March 2026 the Credit Reads Olodum Ent, a London Company Nine Weeks Old.

Every Crayon release from July 2019 to June 2025 carries a phonogram credit naming Mavin Records, Mavin Global Holdings Ltd or both, in most cases alongside the imprint Blowtime Entertainment. On 13 March 2026 that stopped. His single “Baami” carries the line “℗ 2026 Olodum Ent,” and so do the two singles that followed. Olodum Ent Limited is a private company registered in England and Wales on 7 January 2026, nine weeks before that first release, with one director and one controlling shareholder. No party has announced a departure, a settlement or a transfer of the earlier catalogue. Mavin’s own website has quietly moved Crayon from its artist roster to a section headed “legacy artists.”

What the credit line says, release by release

The phonogram symbol ℗ marks a claim to the copyright in a sound recording. It is the closest thing the streaming catalogue has to a title deed, and it is the only continuous record of who held Crayon’s masters.

His debut EP Cray Cray, released 12 July 2019, carries “℗ 2019 Mavin Records/Blowtime Entertainment.” Through 2020 and 2021 the credit sits with Mavin Global Holdings: “Kpano,” “Shima,” “Mo Bad,” “Do Me,” the Twelve A.M EP of 26 March 2021 and the single “Jackpot” all name it.

From mid 2022 the two names run together. “Ijo (Laba Laba),” released 5 July 2022, reads “℗ 2022 Mavin Global Holdings/Blowtime Entertainment.” His debut album Trench to Triumph, released 21 July 2023, reads “℗ 2023 Mavin Global Holdings Ltd/Blowtime Entertainment.” So do “Modupe,” “FADE AWAY,” “If I Be You,” “Tete,” “You” and “Bodycon.”

The last Crayon release carrying a Mavin name is “Roju,” dated 6 June 2025, credited “℗ 2025 Mavin Global Holdings Ltd / Blowtime Entertainment.” Then nine months of nothing under that credit. His name appears on other people’s records during the gap, each carrying somebody else’s copyright line, and none of them Mavin’s.

On 13 March 2026 came “Baami,” credited “℗ 2026 Olodum Ent.” On 24 April 2026, “Ball,” same credit. On 21 August 2026, “Cho!”, same credit again. Three consecutive solo releases across five months, all naming a company that did not exist a year earlier.

These credits were read from Apple’s own catalogue data for each release. Deezer, independently, returns the same label strings for the same records: “Mavin Records/Blowtime Entertainment” on Cray Cray and Trench to Triumph, “Mavin Global Holdings Ltd” through 2025, and “Olodum Ent” on all three 2026 singles. The MusicBrainz release database lists Blowtime Entertainment and Mavin Records as joint labels on the earlier records and carries no label at all for “Baami.”

The company behind the new credit

Olodum Ent Limited is registered at Companies House under number 16948931. It was incorporated on 7 January 2026 as a private company limited by shares, with a registered office at Suite G04, 1 Quality Court, Chancery Lane, London. Its recorded business activity is SIC 59200, sound recording and music publishing activities.

The register names one officer: Chibueze Charles Chukwu, appointed director on incorporation, a Nigerian national resident in Nigeria, date of birth recorded as July 1995. He is also the company’s only person with significant control, notified the same day, at ownership of shares of 75 per cent or more, ownership of voting rights of 75 per cent or more, and with the right to appoint and remove directors. There is no corporate shareholder on the register, no charge registered against the company, and no accounts or confirmation statement filed yet. The first accounts are not due until 7 October 2027.

Charles Chibueze Chukwu is the legal name reported for the artist who performs as Crayon. The identification is not confirmed by any document, because Companies House does not record stage names, and neither the artist nor the company has said on the record that they are connected. What can be shown is circumstantial and consistent: the company name matches the credit line exactly, the SIC code is sound recording, the incorporation date sits nine weeks before the first release under that credit, and the company’s olodument.co.uk domain hosts the official release page for “Cho!”, which links to Crayon’s verified Spotify artist profile. Against that, the register gives the director’s birth year as 1995, while the MusicBrainz entry for the artist gives 8 July 1997. The month agrees and the year does not. That divergence is on the record here rather than smoothed over.

Mavin moved him to “legacy artists” without saying so

Mavin Records’ own website carries two roster sections. The first, headed “artists,” lists Ayra Starr, Bayanni, Boy Spyce, CupidSZN, Johnny Drille, LADIPOE, Lovn, Magixx and Rema. The second, headed “legacy artists,” lists Crayon, D’Prince, Di’Ja, Dr SID, Elestee, Korede Bello, Reekado Banks and Tiwa Savage. Every other name in that second list left the label years ago.

Crayon’s individual profile page on the same site is still live and still reads as a current biography, ending with his 2023 album and 2024 singles, under a footer that reads “© 2025 Mavin Global Holdings.” The site therefore says two things at once: the roster index treats him as past, the artist page treats him as present. That is the only signal from the label itself. No statement, no announcement and no confirmation of a departure has been issued by Mavin Records, by Mavin Global Holdings or by Universal Music Group, which took majority control of Mavin Global in February 2024.

In March 2026 Crayon published a series of posts on X, some of which were deleted within days, alleging that he was owed money by the label and naming executives. Trade coverage on 17 March recorded that no response had been issued by the label or by the individuals named. This desk found no statement from any of them since. This record does not adopt those allegations and does not carry the money figure that circulated with them: deleted social posts are not a document, and no filing, judgment or party statement obtained here supports any sum.

Owns, distributes, administers: what is and is not established

The credit line establishes who claims the recording copyright. It establishes nothing about distribution. No distributor is named on any of the three 2026 releases, on the company’s website, or in any trade report located. The release marketing runs through Feature.fm smart links on an Olodum-branded domain, a promotional tool rather than a rights relationship. Whether the company delivers to streaming services directly, through an aggregator or through a distribution deal could not be established.

Publishing is a separate question again, and a blank one. No source obtained for this record names a publisher or administrator for Crayon’s songwriting, at any point in the timeline, under Mavin or after it.

Most importantly: nothing here shows that the 2019 to 2025 catalogue moved. Those recordings still carry Mavin Global Holdings Ltd and Blowtime Entertainment on Apple and Deezer today. An artist standing up a new company for new masters is not the same event as an artist buying back old ones, and there is no document suggesting the second thing happened. Blowtime Entertainment itself cannot be resolved to a corporate record: the UK register returns nothing for the name, and Nigeria’s Corporate Affairs Commission has no public search, so whether it is a company or a trading imprint of the Mavin group is unknown.

What this means for artists

Two practical lessons sit in this record. The first is that a label roster page is a document. Mavin did not announce anything, but it did edit its own website, and moving a name from one heading to another is a checkable act by the company itself. Anyone assessing whether an artist is still signed should read the label’s own roster page first, because the roster gets updated when the press release never comes.

The second is about what a new imprint actually buys you. Incorporating a company and putting its name on the ℗ line means the new recordings are owned by that company from creation. It does not touch a single earlier master. Artists leaving a deal often describe the moment as “getting my masters back,” and the credit lines here show why that phrase needs testing every time: the forward-looking part is easy and immediate, the backward-looking part requires a separate transaction that somebody has to pay for, and there is no sign of one in this case.

It is also worth noticing where the company was registered. A Nigerian artist releasing Nigerian music set up an English company to hold it. That is now a familiar pattern on this beat, and the practical effect is that the ownership becomes publicly checkable in a way a Nigerian registration would not be. The register is the reason this piece can be written at all.

Limits of this record. The corporate facts come from the Companies House register for company 16948931, read in full on 6 September 2026, including the overview, officers and persons with significant control pages. The phonogram credits were read from Apple’s own catalogue data for each named release and independently corroborated against Deezer’s label field and MusicBrainz label relationships. The roster sections were read from the live HTML of Mavin Records’ own artists page on 6 September 2026. The identification of the company’s director with the artist Crayon is an inference, is flagged as one, and is contradicted on one point by the recorded birth year. No party responded on the record and no statement from Mavin Records, Mavin Global Holdings, Universal Music Group, Crayon or Olodum Ent Limited about a departure was located. No consideration, advance, royalty rate, term or territory for either the original Mavin arrangement or its ending is disclosed in any source, and none is stated here. The 2019 signing date of May 2019 rests on trade reporting and an encyclopaedia entry, not on a contract or a company filing.