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Rema, Davido, Asake, and Olamide Headline Flytime’s December Lineup with Rhythm Unplugged and Flytime Fest
The Beautiful Lie of “Making It”: Kenyan Youth, Hustle Culture, and the New Local Dream
Afrocritik’s Top 100 African Songs of 2025
Features & Essays
The Legend of Power Mike: What Can Truly Be Known about Nigeria’s Famous Wrestler of the 20th Century?
Could AI Music Be the New Normal?
Has the “Great Nigerian Novel” Been Written?
From Amaka Igwe to Jade Osiberu, Nollywood Female Filmmakers Are the New King of Boys
Ranking Davido’s Albums through the Course of his Career
Forbes 30 under-30: True Cases of Young Achievers, or Simply “Brother Bernards?”
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Interviews
Film & TV
“A Ghetto Love Story” Review: Basketmouth’s First Foray Into Film Production Is Impressive
“Umjolo: The Gone Girl” Review: Fikile Mogodi’s Debut Feature Lacks Substance
“Loose Cannon” Review: Olisa Eloka’s Short Film Is a Reminder of War’s Devastating Consequences
“Hijack ‘93” Review: Robert O. Peters’ Thriller Fails to Take Flight
“At Ease” Review: Seun Richards’ Directorial Debut Is a Refreshing Take on War Trauma
“Inside Life” Review: Clarence Peters Explores Dark Realities at a High Emotional Cost
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Music
Basketmouth Displays Mastery On “A Ghetto Love Story” Soundtrack Album
What Music and Dance Trended in Francophone Africa in 2024?
“A Journey of Love” Review: Gemma Ofili’s Project Navigates Love and Healing
Opinion: We Have Taken Afrobeats to the World, and Now They Are Taking It From Us
The Resonance of Locality in Afro-Pop’s Global Rise
“Hard Guy Confessions” Review: Johnny Drille and Don Jazzy Unmask the Vulnerabilities of Love
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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10 African Fashion Events to Watch Out for in 2025
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