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Can Ethical Cobalt Mining Stop Congo’s Crisis?
Afrocritik Weekly Music Spotlight: Detour Week II
“Life’s Daunting Stare” & “Home As A Symbol Of Nostalgia” | Poems By Ewurama Tawiah Welbeck
Features & Essays
Burna Boy’s MSG Performance, and the Gift That Keeps on Giving
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A Tribute to a Titan: Oba Lamidi Ọláyíwọlá Àtàndá Adéyẹmí (1938-2022)
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Nudity in Nigerian Music Videos: A Simple, Growing Trend, Or an Absolute Necessity for Sales?
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Film & TV
“Ẹlẹṣin Ọba” Review: Netflix’s “Death and the King’s Horseman” Adaptation Is a Play, Not Really a Film
“Becoming Abi” Review: Bolu Essien’s Office Space Dramedy is a Relatable Dreamy Story Where Love Meets Ambition
“Eyimofe” Review: An Ever-Relevant Interrogation of the Pressing Reasons to “Japa”
“Valley of a Thousand Hills” Review: An Unclear Solicitation for the Queer Community
“Soólè” Review: Kayode Kasum Might Need a Break for Artistic Introspection
“Brotherhood” Review: Jade Osiberu Delivers Quality Fun in Trope-Filled Action Flick
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Music
Nairobi Rock Sensation, Lone Tree, Unveils New Single, “Holding On”
“Blue Hour Notes” Review: Faith Moyosore Agboola’s Debut Spoken Word EP Explores Vulnerability, Despair, Hope, and Love
“Masta” Review: Tim Lyre’s New EP Chronicles His Artistic Evolution
“Body, Soul, & Spirit” Review: Joeboy Expands on Past Work With New EP
“Don’t Get Used To This” Review: WurlD Operates at the Peak of His Powers on New EP
“Family Time” Review: Erigga’s Storytelling Finesse is Marred by Subpar Production
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2025 AMVCA: How the Stars Lit up the Night With Style
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