> “I realized something early; I never called myself a singer or a rapper. I said I’m an entertainer — which means I don’t have to sing to entertain,” D’banj told Okinbaloye.
That self-concept liberated him from pigeonholes, opening the way for a wider enterprise — beyond music and into a full-fledged creative economy ecosystem.
From “Oliver Twist” to a Billion-Dollar Vision
D’banj said the massive success of his hit “Oliver Twist” validated his belief that entertainment transcends vocals. To him, that global breakthrough wasn’t just about catching ears — it proved that his brand could deliver value in many forms. And that’s precisely the way he’s structured the C.R.E.A.M platform.
He emphasized that real wealth for modern artists comes from building something larger than just music: “There is no artiste on the Forbes list who made it through music alone. It takes business, vision, and platforms bigger than the art itself.”
With C.R.E.A.M., D’banj isn’t just dreaming — he’s building that bigger platform.
A Strategic Investment That Speaks Volumes
The scale of C.R.E.A.M’s ambition has drawn serious institutional backing. Afreximbank, through its Creative Africa Nexus (CANEX) initiative, has made a strategic equity investment in the platform. The deal was formalized during Afreximbank’s 32nd Annual General Meeting in Abuja, signaling strong investor confidence in the future of Africa’s creative economy.
According to Afreximbank, this move isn’t just about backing one man’s vision — it’s about building infrastructure for a whole continent’s creative potential. Through the investment, CANEX Creations aims to support scalable, tech- enabled solutions that elevate creative talent across Africa.
Impact and Reach: More Than Just Numbers
The C.R.E.A.M platform has built a truly inclusive pipeline for young creatives. According to D’banj’s team, the platform has accumulated over seven million subscribers in Nigeria alone, with more than 10,000 content submissions, and has supported over 38,000 creatives via grants, mentorship, and exposure.
Through C.R.E.A.M, artists can not only record songs or shoot videos — but also collaborate, monetize their content, and access global opportunities. Importantly, the platform is accessible: it's available both on the web and via USSD (*463#) on MTN, making it reachable even to creatives without high-end devices.
One major show of influence: D’banj recently picked Nasboi and Berri Tiga as brand ambassadors for C.R.E.A.M. He has publicly reinforced that the platform is not a traditional label. Rather, it’s a creative ecosystem — a place for content uploads, evaluation by industry experts, voting, grants, and distribution.
Talent Discovery Meets Grassroots Impact
One of the standout initiatives under the C.R.E.A.M umbrella is the “MTN Best of the Streets” competition, a nationwide talent hunt aimed at uncovering grassroots creatives across Nigeria. This year, the prize pool hit ₦250 million, and in his remarks, D’banj highlighted the mission: to give creatives real tools — not just opportunities — that empower them to go global.
This combination of tech, funding, and visibility shows that C.R.E.A.M isn’t just talk — it’s actively building an ecosystem, leveraging real capital and real partnerships to support emerging talent.
The $3 Billion Claim: Ambition or Reality?
While D’banj claims the C.R.E.A.M platform is now worth $3 billion, this figure has not been independently verified in public financial filings. However, the confidence of such a valuation is backed by serious moves: equity investment from Afreximbank, multi-million-dollar talent grants, and large-scale talent discovery programs. These are not small-scale operations; they are infrastructure-level plays, positioning C.R.E.A.M as a major player in Africa’s creative economy.
Moreover, C.R.E.A.M's approach addresses a critical challenge faced by many African creatives — lack of access to capital, limited visibility, and fragmented support systems. By offering 360-degree support — from funding to production to mentorship — D’banj is betting big that creating an inclusive, structured creative ecosystem can unlock value across the continent.
Why This Matters (Especially for New Artists)
1. Financial Inclusion for Creatives: Through strategic partnerships like the CANEX deal, C.R.E.A.M is injecting serious capital into Africa’s creative economy, which can empower thousands of young talents who otherwise lack funding.
2. Democratizing Content Access: With its USSD access and web platform, C.R.E.A.M opens doors for creators in less digitally connected areas, offering a viable entry into the entertainment industry.
3. Talent Discovery at Scale: The “Best of the Streets” initiative brings grassroots creatives into mainstream opportunities — a powerful model for bridging local talent to global markets.
4. Long-Term Vision: This isn’t just about making hit songs — D’banj is building a legacy platform that aims to define the future of African entertainment as a serious economic sector.
5. Credibility and Validation: Big institutional backing (like Afreximbank) reinforces that C.R.E.A.M is not a vanity project — it’s a scalable business.
Final Thoughts
D’banj’s recent declaration that his C.R.E.A.M platform is now worth $3 billion sends a bold message: the era of artists relying solely on music revenue is over. He’s betting on a bigger vision — one that captures Africa’s creative potential in a structured, sustainable way.
With the backing of financial heavyweights like Afreximbank and a growing base of active users, C.R.E.A.M is not just a platform — it’s a movement. It’s a bet on talent, infrastructure, and ecosystem building. And if successful, it could truly reshape the creative economy not just in Nigeria, but across the continent.
For new artists looking in, this is more than opportunity — it’s a potential lifeline: access, resources, mentorship, and a seat at a table built by one of African music’s most visionary minds.
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