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The Biggest African Transfers of Summer 2025 Across Europe’s Top Leagues
“After Midnight” Review: Gyakie Consolidates Her Familiar Style on Debut Album
Nigerian Writers, Rogba Payne and Wole Talabi, Named Finalists for Inaugural Aldiss Award
Features & Essays
Umu Obiligbo and the Igbo Music of Life
The “Hook-Up Culture” Is Changing the Way We View Modern Dating and Relationships
Women, Fashion And The Amazing Role Body Type Plays
The Ruler vs The Ruled: Is Free Speech Politicised Against Marginalised Groups?
Out with the Weird Hustle Culture, In with “Quiet Quitting”
How the Traditional Publishing Industry in Africa Is Shaping the Emergence of New Voices in African Literature
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Film & TV
“A Tribe Called Judah” Review: Funke Akindele’s Winning Streak is Crafting Engaging Family Dramas
10 Breakthrough African Films of 2023
“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
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Music
“Shakespopi” Review: Shallipopi’s Album Fails to Justify Its Existence
Afrocritik Weekly Music Spotlight 2024: Week 9
Mara: What to Know About the Viral Hyper-Fast and Energetic Sound
“Love Language” Review: Fancy Fingers’ Album is an Ode to Africa’s Female Vocalists
“Better Days” Review: Candy Bleakz Delivers an Impressive Sophomore Project
“Love Lust” Review: Funbi Journeys Through Love and Longing on New EP
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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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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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