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Afrocritik’s Music Spotlight: Big Emotions
“Caged Bird” Review: Tryve Explores Pursuit of Freedom on Lo-Fi Hip-Hop-Infused Single
Nigerian Bodybuilder Andrew Jacked Wins 2026 Arnold Classic Men’s Open Title
Features & Essays
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?
15 Things To Know About Chimamanda Ngozi Adichie’s Chieftaincy Title
Afrocritik Top 25 African Music Videos of 2022
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Interviews
Film & TV
“With Difficulty Comes Ease” Review: Korede Azeez’s Film Is a Masterful Blend of Art and Heart
“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
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Music
The Art Behind the Music: Why Album Covers Matter
“King” Review: Jeriq Declares His Supremacy With New Album
Wonu Osikoya Documents Afrobeats History From a Fresh Perspective With “Grime, Glory & Afropop”
“No Love in Lagos” Review: Show Dem Camp, The Cavemen & Nsikak David Deliver a Masterful Blend of Highlife and Hip-Hop
“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
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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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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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