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On Afrobeats to the World: Where Is the Line Between Evolution and Identity Crisis?
Book O’Clock Opens Submissions for “Nyamiri-Bàsakkwacḕ: Stories from Another Home” Anthology
The North Is Retelling Its Story: A Review of Flame Tree’s “Someone Should Hold Farida”
Features & Essays
Doing Christianity The “Adefarasin Way”
From Port Harcourt To The World: Meet 1DA Banton, The Former Church Drummer Whose Sound Emphasises The Good Life
Gospel Chants And The Evolution Of Worship Music In Nigeria
Looking For A Romantic Playlist That Is 100% Nigerian? Here’s One For You
Blackstar Film Festival, The World’s Premier Event For Filmmakers Of Colour, Returns For A Tenth Edition
Women Experience Life-Threatening Pain During Their Periods – Here Is Why You Should Care.
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“Introducing the Kujus” Review: Biodun Stephen Creates a Dramatic and Incredibly Relatable Family
“Silent Baron” Review: An Easily Forgettable Tale of Blinded Trust and Stolen Innocence
“Rise” Review: Akin Omotoso Directs a Family-Friendly Sports Biopic for Disney
“Ile Owo” Review: Dare Olaitan’s Horror Film Is Heavy on Suspense and Light on Terror
“Glamour Girls” Review: Play Network Ruins Yet Another Nollywood Classic
Netflix’s “Trees of Peace” Review: Saved by the Will to Survive
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Music
Wande Coal Shores Up Legacy on “Legend Or No Legend” Album
YKB Trends Slowly but Steadily in the Right Direction on “Yusful Music” EP
Rema Bolsters His Leading Effort with “Rave & Roses Ultra” LP
Kenyan Star, Bensoul, Lights up His Own Lane with “The Lion of Sudah” Album
L.A.X Shows Lack of Sonic Ambition on “No Bad Vibes” EP
Suté Iwar Immerses Us in His World on Debut LP, “Ultralight”
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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