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Jubed Is Expanding the Sound and Vision of Ghanaian Pop
Sampling, Interpolation, and What Music Copyright Requires
Afrocritik Announces Key Editorial Promotions
Features & Essays
“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?
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
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Film & TV
“Losing Lerato 2” Review: Zolani Phakade’s Sequel Is an Underwhelming Outing
“What About Us?” Review: Kayode Kasum’s Family Drama Drastically Fumbles its Third Act
“My Father’s Fable” Review: Faith Omole’s Theatre Show Is an Emotional Exploration Into Family Trauma and Nigerian Identity
“Onye Egwu” Review: The Uche Jombo-Directed Film is a Near Miss
“Lobola Man” Review: Thabang Moleya’s Romcom is a Breeding Ground of Cliches
Filmjoint: The Platform Promoting and Distributing Nigerian and International Short Films
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Music
“Purple Doesn’t Exist” Review: A-Q’s Experience Serves As The Backdrop For A Poetic Prowess
“Lungu Boy” Review: Asake’s Sonic Leap Stumbles on Thematic Cohesion
The Creative Pulse of Chike: An Artiste’s Narrative
The Power and Essence of Album Rollouts
“DVNTE” Review: Rhatti’s Ingenious Fusion Project Is a Nostalgic Journey Through the 90s
“Mood 4 Life” Review: Victoria Kimani’s Album Is Just as Beautiful as It Is Layered
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2026 Grammy Awards: How African Celebrities Brought the Fashion Heat to the Red Carpet
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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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