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Tyla Makes History as First African to Host Nickelodeon Kids’ Choice Awards
The 2025 CAF U-20 Africa Cup of Nations: Competition Review, Standout Players, and Finals Preview
Afrocritik’s Weekly Music Spotlight: Soulful Rhythms
Features & Essays
15 Things To Know About Chimamanda Ngozi Adichie’s Chieftaincy Title
Afrocritik Top 25 African Music Videos of 2022
Afrocritik Best 15 African Films that Streamed in 2022
Afrocritik Top 15 African Rap Albums of 2022
Afrocritik Top 25 African Novels of 2022
Stream Farms: Should Ratings be the Only Relevant Metric Used in the Music Industry?
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Interviews
Film & TV
“Blood Vessel” Review: Another Politically-Charged Film That Slips Into Inertia
12 African Series You May Have Missed in 2023
“Come With Me” Review: Simplicity Takes Centre Stage in Baaj Adebule’s Directorial Debut
“Nganù” Review: Kang Quintus’ Film is an Audacious Exploration of Trauma and Redemption
“The Origin: Madam Koi Koi” Review: Jay Franklyn Jituboh-Directed Flick Reiterates Nollywood’s Challenge with Handling Sensitive Subjects
“Adire” Review: Is Admirable Acting Enough to Carry a Story?
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Music
“Overwhelming Victory” Review: Mercy Chinwo Leans Into Her Strengths on New Album
“Sideh Kai” Review: IllBliss Aims Big but Falls Short
“More Kashcoming” Review: Kashcoming Delivers an Incomplete Rendition on New EP
“Blessed” Review: Berri Tiga’s Debut is Proof of an Artiste Ready for Greatness
“Grace” Review: Otile Brown’s Undertaking is Still to Delight the Romantics
Afrocritik Monthly Editorial Playlist: February 2024
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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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