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Royalties 101: How Music Actually Makes Money
Joburg Film Festival 2026 Wraps as Award Winners Are Announced
S16 Labs Welcomes Applications For Inaugural Edition
Features & Essays
Sondeka Awards: How Creatives Garage Continues to Empower Kenyan & African Creatives
Oladapo Ogunjobi is Harnessing Augmented Reality to Re-define African Art: In Conversation with Afrocritik
Oliver De Coque’s Swansong: What is the Legacy of the Fabled Nigerian Guitarist?
Beyond the World Record, Hilda Baci’s Cook-a-thon Unveils Nigerians’ Relationship with Food and Propriety
25 Queer Books from African and African Diasporan Writers
Ama Ata Aidoo: 10 Things You May Not Have Known About The Ghanaian Feminist Writer
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Interviews
Film & TV
“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?
“Fine Girl” Review: Fatimah Gimsay’s Film Is a Subversive Take On Modern Harassment and Female Empowerment
“Love, Olaitan” Review: Moyosore Akinsete’s Short Film Is a Mesmerising Portrait of Love and Loss
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Music
“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
“Black and White” Review: Terry Apala’s New Project Stretches Apala’s Sonic Possibilities
Afrocritik’s Monthly Music Spotlight: January 2025
“I am the Blueprint” Review: Qing Madi’s Debut Album Explores R&B With Room to Grow
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Fashion
2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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2025 AMVCA: How the Stars Lit up the Night With Style
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10 Celebrities Who Slayed the 2025 AMVCA Cultural Day
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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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