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“Sabali” Review: Peruzzi’s Long-Awaited Album Reasserts His Status as Afro-Pop’s Melody King
AFRIFF 2025: “Njem” and “The Boy Who Gave” Find Drama in the Spectacle of Suffering
How Should We Read? Akpata Magazine and the Reading Debate
Features & Essays
How Music Influences The Direction Of Global Politics
Why The Music Of Johnny Drille Resonates With Nigeria’s Hopeless Romantics
Has Filmmaking In Nollywood Gone To The Dogs?
Nollywood And The Need To Pay More Attention To Short Films
Nollywood Needs Its Low-Budget Movies. Here Is Why.
How To Use A Friday Night
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Film & TV
#Throwback Movie Review: “Elevator Baby” Attempts To Mirror A Country’s Systemic Problems, But How Well Is It Done?
Movie Review: Tunde Kelani’s “Ayinla” Delights With Great Acting, But Lacking In Plot
#Throwback Movie Review: “Sylvia” Is A Nuanced Take On Mental Health And The Paranormal
#Throwback Movie Review: Akin Omotoso’s “The Ghost And The House Of Truth” Is An Emotive Thriller
Movie Review: Niyi Akinmolayan’s “Prophetess” Is Ambitious
Nollywood Scripts Are Really Problematic – But Aren’t They True To Life?
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Music
Hillzy Shows Sonic Range on “In the Building” Album
On “THE4MULA,” Blxckie Gets Lost in a Sea of Thematic Monotony
Wendy Shay Meanders on Mediocre “Enigma” EP
“The Kadosh” Album Seals Joe Mettle’s Rousing Prowess in Gospel Music
Wizkid Coasts around His Comfort Zone on “More Love, Less Ego” Album
Sarkodie Spreads His Sonic Tentacles on “JAMZ” Album
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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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Bold, Regal, and Stylish: African Artistes at the 2025 Grammys
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10 African Fashion Events to Watch Out for in 2025
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