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In Conversation: Obase-Sam Ikoi Reflects on Writing “The Comedian’s Diary” and the Necessity of Hope
“Out of Sight – Out of Mind: Volume 1” Review: Ycee Expresses Stylistic Yin & Yang on New Album
Nine African Film Talents Invited to Join the Academy’s Class of 2026
Features & Essays
Are Creative Writing MFAs the New Reality for Contemporary African Writing?
How Africa is Turning Against People with Albinism
Don’t Sleep, Wake Up! How Afrobeats Motivates Listeners to Aspire for Success
Masquerades: Ancestral Spirits, a Dying Art, or Mere Entertainment?
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
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Film & TV
10 African Movies You Can’t Miss This Holiday Season
All You Need to Know about “77: The FESTAC Conspiracy”
“A Ghetto Love Story” Review: Basketmouth’s First Foray Into Film Production Is Impressive
“Umjolo: The Gone Girl” Review: Fikile Mogodi’s Debut Feature Lacks Substance
“Loose Cannon” Review: Olisa Eloka’s Short Film Is a Reminder of War’s Devastating Consequences
“Hijack ‘93” Review: Robert O. Peters’ Thriller Fails to Take Flight
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Music
“Swangz All Star, Vol. 1” Review: Swangz Avenue’s Album Redefines Uganda and East Africa’s Place in Global Music
“Dutty Love” Review: Fave Captures the Paradoxes of Love In Sophomore EP
African Artistes at the 2025 Grammys: Top Contenders, Surprising Snubs, and Key Takeaways
Juliana Ehada Showcases Sonic Dynamism On “Smile Until The Devil Cries”
How Fuji Music Influences the Modern Afro-Pop Soundscape
The Best Nigerian Music Videos Released So Far in 2024
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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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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