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Eniola Bolaji Becomes First African World No. 1 in Women’s SL3 Para-Badminton
“Hybrid” Review: Shoday’s Artistry Solidifies on Debut Album
“Alive Till Dawn” Review: Star Power, Genre Risk and Nollywood’s Innovation Myth
Features & Essays
Chick Lit Offers More Than It is Credited For, Beyond the Romance, Heartstrings, and Laughter
The Rise of Populist Rhetoric in Africa: Who Does the Voice of the People Really Benefit?
Kikuyu Benga Music: How an Appropriated Sound Became a People’s Way of Connecting With Their Root
Opinion: What, Truly, Is the Substance of Afrobeats Music?
Towards a Better Understanding of the Igbo Identity
Burna Boy’s “Big 7” and Forthcoming “I Told Them” Album Herald a New Exciting Chapter in His Artistic Journey
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“Labake Olododo” Review: Biodun Stephen’s Yoruba Epic Is a Gender-Flipped Samson-And-Delilah Narrative Starring Iyabo Ojo
The Biggest Snubs and Surprises of the 2025 AMVCA Nominations
“Finding Me” Review: Funke Akindele’s Mistitled Dramedy Struggles With an Identity Crisis
“Suky” Review: Ola Cardoso’s Prison-Set, Revenge-Themed Sports Drama Is Tepid
Omoni Oboli and Nollywood’s Dilemma With Copyright Infringement
The Annual AMVCA’s Category Problem: Should TV Productions Be Competing with Films?
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Music
“Just When You Thought It Was Over” Review: Toye Aru and Derrick UGC Combine Magnificently on Joint Album
“Colourful Generation” Review: Bruce Melodie Proves He Is Still A Top-Notch Crooner
Afrocritik’s Editorial Spotlight for Valentine’s Day 2025
“Don’t Hold Me Back” Review: Liya’s Strength Shines in New EP
BoyPee, Hyce & Brown Joel Find Their Rhythm on “Synergy”
In Conversation: OluwaMillar Talks “Agbalagbi”, Creativity, and Breaking Barriers
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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