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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
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?
Is Africa Commemorating Its Heroes Enough?
Is Artistic Cross-Carpeting Beneficial in the Long Run for Black Artistes?
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Interviews
Film & TV
Filmjoint: The Platform Promoting and Distributing Nigerian and International Short Films
“Mapantsula” Review: Oliver Schmitz’s Crime-Drama is a Gripping Portrayal of Apartheid-Era South Africa
“Mvera” Review: Linah Sande’s Talent is the Conspicuous Selling Point of Daudi Anguka’s Film
“A Song from the Dark” Review: Ogo Okpue’s Horror Feature Debut Feels Exactly Like a Debut, and Not a Good One
“The Lions of Buganda” Review: Jerry Sesanga’s Historical Picture Glides at a Glacial Pace Towards Nowhere
Navigating Heartbreak and Closure: Inside MTV Base’s Nigerian Adaptation of the “Ghosted” Reality Show
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Music
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
“Homeless” Review: Llona’s Debut Album Is Raw and Reflective
“Son of Chike” Review: Chike Hits the Perfect Trifecta With Third Album
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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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