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Is the African Literary Critic and the Institution of Criticism Under Attack?
“Love is a Machinery” Review: Anendlessocean Gives Romance the Album It Deserves
Can Democracy Work With a Hungry Voter?
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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Interviews
Film & TV
In Conversation: Ife Olujuyigbe Talks Storytelling, the Realities of Producing, and Navigating Nollywood
20 Prolific Producer-Director Collaborations in Nollywood
Joel Kachi Benson Just Wants to Make an Impact
“Soccer Season: Playmaker” Review: Stephina Zwane’s Sports Drama Finds Power in Its Humour
25 Prolific Actor-Director Collaborations in Nollywood
“Over the Bridge” Review: Tolu Ajayi’s Film Explores Nigeria’s Systematic Rot and the Lives It Unravels
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Music
“Iron Boy” Review: Black Sherif’s New Album Is a Raw Exploration of Success and Struggle
Afrocritik’s Weekly Music Spotlight: Something Different
“The Book of Jones 1st Chapter” Review: Khaligraph Jones Employs Old Tricks for New Triumph
10 Artistes Expanding the Soundscape of Street Pop in Nigeria Today
“The Machine Is Coming” Review: Odumodublvck’s New Project Is a Statement and a Warning
“Viva Lavida” Review: Joeboy Examines Love and Life on Expressive New Album
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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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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