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Variations on the Subject of Family: A Review of the 2026 Caine Prize Shortlist
“Salt in the Snow” Review: Displacements and Shifting Identities Come Together in Sahra Noor’s Debut Memoir
Somalia National Pavilion to Spotlight Contemporary Somali Cinema During Venice Biennale
Features & Essays
How To Use A Friday Night
The Evolution, Trajectory And Appreciation Of Rock Music In Nigeria
Show Dem Camp’s Clone Wars Series: A Decade Plus Of Consistent Rap Intervention
WHY PETER TOSH, NOT BOB MARLEY, SHOULD BE REGARDED AS JAMAICA’S GREATEST EVER MUSICAL EXPORT
WHY NIGERIANS THINK MR EAZI IS NO LONGER MUSICALLY RELEVANT - AND WHY THEY ARE VERY WRONG
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Film & TV
“The Wildflower” Review: Biodun Stephen’s Winning Streak Continues in New Film About Gender-Based Violence
“Dazzling Mirage” Review: Tunde Kelani’s Old but Gold Film on sickle-cell Disease Makes Entrance on Netflix
“Kedibone” Review: A Coming-of-Age Tale of a Flawed, Young South African Woman
“The Perfect Arrangement” Review: Inkblot Production’s Latest Release Lacks Artistic Direction
“Foreigner’s God” Review: A Good Story Ruined with Bad Accents and a Foreigner Nobody Needs
Movie Review: EbonyLife finds Redemption with “Blood Sisters”
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Music
“Mass Country” is AKA’s Sublime Parting Gift
Kel-P Displays Potential and Promise on “Bully Season Vol.1” EP
Ice Prince’s “To Be Continued” EP is a Vibrant, Genre-Bending Return
With “Continental Playlist,” King Perryy Takes a Bold Step forward
With “Pheelz Good,” Pheelz Solidifies Himself as a Music Connoisseur
DJ Spinall Attains Lofty Heights with “Top Boy” Album
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AMVCA 2026: The Best Celebrity Red Carpet Looks of the Night
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Met Gala 2026: How African Celebrities Showed Up on Fashion’s Biggest Stage
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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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