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Afrocritik’s Weekly Music Spotlight: Soulful Rhythms
Two African Films, “Angel in the Stone” and “Before 16”, Shortlisted for 2025 Sony Future Filmmaker Award
“Transit”, “Leaven”, & ”Arrive in Your Skeleton” | Poems by Abiodun Salako
Features & Essays
Don’t Sleep, Wake Up! How Afrobeats Motivates Listeners to Aspire for Success
Masquerades: Ancestral Spirits, a Dying Art, or Mere Entertainment?
African Gospel Artistes May Have Found the Springboard to World Domination
“Na God Go Punish Una!” Concert Culture in Nigeria is a Slippery Slope for the Progress of Nigerian Entertainment
The Female Camus | Abigail George
Is There Truly ‘No Big Deal’ in the Sarkodie-Nasty C Feud?
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Film & TV
“A Weekend to Forget” Review: Damola Ademola’s Entertaining Mystery Confounds Itself
“WAR: Wrath and Revenge” Review: A Simplistic Foray into Machiavellian Intrigue
“Classified” Review: Kagiso Lediga’s Young-Adult Venture Falls Short of Originality
“Breath of Life” Review: A Grand Story Tinged with Avoidable Flaws
“A Tribe Called Judah” Review: Funke Akindele’s Winning Streak is Crafting Engaging Family Dramas
10 Breakthrough African Films of 2023
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Music
“Loveless” EP Review: Lojay and JAE5 Take a Roller-Coaster Ride Through Modern Romance
“Public Notice” Review: Bowman Aremwaki Proves His Capability as a Solo Artiste
Kizz Daniel Retains Similar Elements on “TZA” EP
These Trailblazers are Shaping the Industry for Female Music Producers in Africa
“Love is War” Review: IAMDDB Confidently Struts Her Skills on New Album
Afrocritik Weekly Music Spotlight 2024: Week 7
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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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10 African Fashion Events to Watch Out for in 2025
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