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“NO DAYS OFF” Review: Kweku Smoke Reflects on Hustle and Ambition on New Album
Arole Agarawu African Poetry Prize Announces Inaugural Shortlist
“Ben’Imana”, “The Woman Who Poked The Leopard”, “Carissa”, Others Set For Screening at the 2026 NBO Film Festival
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Film & TV
Tanwa Savage Review: Screenplay Flops Serve as the Ruin on Geshin Salvador’s Tanwa Savage
Superstar: Nollywood Movie Review: An Enjoyable Celebrity Story With A Little Too Much To Say
Binti Movie Review: Tanzanian, Seko Shamte Tells the Story of Womanhood on Netflix
The Girl in the Yellow Jumper Movie Review: Ugandan Thriller Thrives on a Story of Improbabilities and Suspense
Chief Daddy 2 Review: Netflix’s Sequel Is a Bad Start to an Initially Promising Year
A Naija Christmas Review: Kunle Afolayan’s Delightful But Unsatisfactory Christmas Romp
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Music
Blaqbonez Continues to Grow and Shine on “Young Preacher” Album
Young Jonn’s “Love Is Not Enough Vol. 2” is a Faulty Sonic Gamble
Iyanya’s “The 6th Wave” EP is a Return to Form for the Afrobeats Icon
Joe Praize’s “The Assignment” Album is Covered with the Cloak of Excellence
Moliy Captures a Sour Relationship on “Honey Doom”
Ayra Starr Offers Little to Nothing on “19 & Dangerous” Deluxe LP
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2025 AMVCA: How the Stars Lit up the Night With Style
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