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10 Rising African Alté Artistes to Watch in 2025
To Kill a Conversation: Nollywood, Criticism, and the Culture of Silence
“Spiral” Review: Tim Lyre Charts Cycles of Love and Life on Sophomore Album
Features & Essays
Why the Eastern Nigerian Music Industry is Falling Short
Tribalism in Africa: a Tool for Charging Political Agenda
Experiencing Theatrical Greatness with Bolanle Austen-Peters: Fela’s Republic and the Kalakuta Queens
Is Theatre Still Alive in Nigeria? Joshua Alabi’s Journey as a Theatre Practitioner in Nigeria
Femininity Should Never Be an Impediment to Women’s Freedom in Africa
The Men’s Club: Will Ayoola’s Exit and Pere’s Entry Cost the Show its Fans?
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Film & TV
Marking Democracy Day: 5 Films about Nigeria’s Democracy (And Where to Find Them)
“Charge and Bail” Review: Inkblot’s Courtroom Drama is a Legal Comedy in Every Sense
“The Wildflower” Review: Biodun Stephen’s Winning Streak Continues in New Film About Gender-Based Violence
“Dazzling Mirage” Review: Tunde Kelani’s Old but Gold Film on sickle-cell Disease Makes Entrance on Netflix
“Kedibone” Review: A Coming-of-Age Tale of a Flawed, Young South African Woman
“The Perfect Arrangement” Review: Inkblot Production’s Latest Release Lacks Artistic Direction
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Music
“Yes Indeed” Review: Yaadman Shines Bright on His Return EP
“Chequemate” Review: Cheque Takes Stock of His Trajectory on New EP
“Unruly” Review: Olamide’s Latest Album is a Celebration of His Evolution
“Afrodisco” Review: Iddi Singer and Grandmastatek’s Collaborative EP is a Bold and Emotive Mix of Sounds
“Litany” Review: Konyikeh Bares Her Soul on Her Debut EP
“Level Up” Review: Tha Boy Myles Sets a New Bar With Sophomore EP
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2025 AMVCA: How the Stars Lit up the Night With Style
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What Africa Wore to the Met Gala 2025: Fashion, Symbolism, and the Limits of Black Dandyism
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