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Nairobi LitFest 2025: NBO Explores The Countercurrents of Knowing
“The Parlour Wife” Review: Foluso Agbaje’s Novel Is a Vital Contribution to Historical Fiction
“Readers Will Bring All Kinds of Meaning to Your Work”: Uche Okonkwo, In Conversation with Afrocritik
Features & Essays
What is Humanity’s Fuss about Strongmen?
These 5 Nigerian Skit Makers are Blurring the Lines between Comedy & Music
Are African Literary Magazines Moving in the Right Direction?
“Like and Follow:” Why Do Numbers Matter on Obasanjo’s Internet?
Celestine Ukwu’s Musical Philosophy: Is This the Sweet Spot of Highlife?
Has the INEC Fufilled All Its Promises?
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Film & TV
Curtain Call for Mr Ibu: A Veteran Actor Who Created a World Full of Cheer
Kunle Afolayan’s “Aníkúlápó: Rise of the Spectre” is a Wobbling Cinematic Outing
“A Green Fever” Review: Taiwo Egunjobi’s Historical Suspense Thriller is Incoherent and Corny, Yet Commendable
“One Too Many” Review: “Sorrows, Sorrows, Prayers” for the Listless Moments in the Kayode Kasum-Directed Film
“It Blooms in June” Review: Korede Azeez’s Coming-of-Age Movie Needs to Come of Age
“Daydreamers” Review: Vincenzo Cavallo’s Film Explores the Dreams and Aspirations of Eastleigh’s Somali Immigrants
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Music
“Born in the Wild” Review: Tems’ Debut Album Is a Masterclass on Self-Discovery
Dizzy Mandjeku and the Odemba OK Allstars Pay Tribute to the Timeless Traditions of Congolese Rumba With “Odemba Nostalgie” EP
How Recent Afropop Projects Mark a Full-Circle Moment for Nigerian Music
In “Ogechi”, Brown Joel, Boypee, and Hyce Long For Affection
“The Year I Turned 21” Review: Ayra Starr’s Sophomore Project is her Sonic Autobiography
How Kikuyu House and Electronic Dance Music is Taking Root as a Music Genre
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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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