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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
Live Performance Culture: How Has the Trio of Burna Boy, Wizkid, and Davido Fared?
Beyond a Name Change, the Need for a Full Nigerian Prison Reform
Scores and Original Soundtracks: Nollywood’s Untapped Goldmine?
Weighing the Cost of Gambling in Africa: Sports Betting in Nigeria
Eight African Women Filmmakers Breaking the Bias
Six Women at the Forefront of Tech in Africa
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Interviews
Film & TV
10 Breakthrough African Films of 2023
“Blood Vessel” Review: Another Politically-Charged Film That Slips Into Inertia
12 African Series You May Have Missed in 2023
“Come With Me” Review: Simplicity Takes Centre Stage in Baaj Adebule’s Directorial Debut
“Nganù” Review: Kang Quintus’ Film is an Audacious Exploration of Trauma and Redemption
“The Origin: Madam Koi Koi” Review: Jay Franklyn Jituboh-Directed Flick Reiterates Nollywood’s Challenge with Handling Sensitive Subjects
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Music
“The Chorus Leader” Review: Timi Dakolo is Bold and Bare on New Album
DUST Review: Priddy Ugly Takes an Emphatic Bow on Final Album
Afrocritik Weekly Music Spotlight 2024: Week 2
“Dem Mauru” Review: Maandy’s New EP Attest to Her Hard Work and Sensitivity
“Let’s Start A Riot” Review: La Même Gang Returns With a Decent EP
Afrocritik Weekly Music Spotlight 2024: Week 1
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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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