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Afrocritik’s Music Spotlight: Big Emotions
Nigerian Bodybuilder Andrew Jacked Wins 2026 Arnold Classic Men’s Open Title
The Ethics of Knowledge and the Difficult Conversation Around Book Piracy in Africa
Features & Essays
Billboard’s US Afrobeats Chart: Is There Anything to Be Thankful For?
Five West African Women Folk Musicians That Might Just be Worth Knowing
The Hyena Men of Nigeria: A Threat to Nature and Human Life?
Nollywood’s Sexist Tropes and the Stereotypical Portrayal of Women in Contemporary Nigerian Movies
Why Do People Still Fall Prey to Ponzi Schemes Amidst Warning Signs?
Have we Reached the Long-awaited Meeting Point of Politics and Religion?
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Interviews
Film & TV
FESPACO: An Enduring Role in Promoting African Cinema
“A Weekend to Forget” Review: Damola Ademola’s Entertaining Mystery Confounds Itself
“WAR: Wrath and Revenge” Review: A Simplistic Foray into Machiavellian Intrigue
“Classified” Review: Kagiso Lediga’s Young-Adult Venture Falls Short of Originality
“Breath of Life” Review: A Grand Story Tinged with Avoidable Flaws
“A Tribe Called Judah” Review: Funke Akindele’s Winning Streak is Crafting Engaging Family Dramas
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Music
“Once Upon A Cat” Review: Iyanya Struggles for Artistic Control on New LP
“Evil Twin” Is a Poignant Reminder of PsychoYP and Jeriq’s Insane Potential
Afrocritik Weekly Music Spotlight 2024: Week 3
Nigerian Music Luminary, Timaya, Releases New Single, “Dey Your Dey”
Joeboy Inks Dual Deal with Warner Music, Launches Young Legend Label
“We Cut Keys 2” Review: Blinky Bill Returns With a Sonorous And Genre-Bending New Album
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Fashion
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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