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BNXN Hosts Intimate Lagos Release Party for “CAPTAIN” in Partnership with Don Julio
Celeste Ojatula Announces New Single, “Traveler”
Book O’Clock to Host Global Webinar on African Children’s Literature
Features & Essays
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?
Saving Theatre: Lessons the Nigerian Theatre Can Learn From the Film Industry
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“Lockdown” Review: Moses Inwang’s Pandemic Movie Feels Like a “93 Days” Wannabe
“Money Miss Road” Review: Swanky JKA and Josh2funny Bring the Comedy in Obi Emelonye’s Action Comedy
Bovi Ugboma’s “My Village People” Understates Spirituality and Witchcraft
“Justice Served” Review: A Broken System Is Put on Trial in Another Entertaining Netflix Hostage Drama
8 Nigerian Movies and TV Shows Coming Soon to Your Screens
“Country Queen” Review: Kenya’s First Netflix Original Series Is Potent but Drab
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“Unboxed” Review: Nissi’s Sophomore EP is a Fantastic Experimental Project
“Eziokwu” Review: Odumodublvck’s Enjoyable Project Is Marred By Repetitive Narratives
“Sincerely, Benson” Review: Bnxn Makes a Bold, Brazen Debut as One of Afrobeats’ Finest Artistes
“To Cry & Bounce” Review: Bouff Explores Resilience and Desire on New EP
“Son of the Soil” Review: Not3s Embraces His Cultural Roots and Rhythms on New EP
“Palmwine Diaries Vol.1” Review: Juls Connects With His Ghanaian Roots on His Latest EP
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2025 AMVCA: How the Stars Lit up the Night With Style
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