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Music Review

·July 27, 2025·2 min read

Burna Boy’s “No Sign of Weakness”: A Soundtrack of Swagger, Struggles, and Sweet Wahala – TKO

Musically, the album is a buffet with an impressive menu. Burna revisits his early dancehall roots with Leriq, then jumps into trap with Travis Scott, mixes Afrobeats and country music with Shaboozey, goes full rockstar mode with Mick Jagger, before linking up with Stromae for some Francophone flavour

Music Review

·July 13, 2025·4 min read

Ayọ Maff’s “Prince of the Street” is a Missed Coronation – Michael Kolawole

Baddo’s Song’ with the South African musical duo Jazzworx and Thukuthela, a supposed homage to rapper-singer Olamide, does a disservice to his towering reputation in the Nigerian music scene. Why collaborate with artists not attuned to Nigerian street-pop or Olamide's musical brilliance and influences on a tribute song?

Music Review

·June 15, 2025·4 min read

The Feast – Falz’s Most Intimate Offering Yet – Michael Kolawole

The production, handled by a lineup of trusted collaborators like Tuzi, Duktor Sett, IBK Sleek, Semzi, and Magicsticks, is a masterclass in variety. From high-energy bangers to soulful ballads and Fuji-infused jam, the album’s sonic diversity keeps us engaged.

Music Review

·November 30, 2024·3 min read

Wizkid’s Morayo: A Sonically Rich and Thematically Inconsistent Experience – Michael Kolawole

Morayo is just a nominal dedication with erratic lyrics, jumping between different ideas, moods, and styles. It feels fragmented, thematically reflecting an artist at a crossroads. It oscillates between Wizkid’s penchant for romantic, mellow tendencies and upbeat, danceable tracks. The result is a sonically rich yet thematically inconsistent experience

Music Review

·August 25, 2024·4 min read

Asake’s “Lungu Boy”: A bold but wonky attempt at reinvention – Michael Kolawole

We live in an era defined by artistic collaboration that defy borders. It’s understandable for an artist to seek international collaborations to broaden his horizons but some of the guest artists on Lungu Boy, though talented on their own, can’t seem to connect with Asake's Lagos street life, especially the Isalẹ Èkó street culture

Music Review

·July 28, 2024·3 min read

With HEIS, Rema makes a play for the Afrobeats crown – Patrick Ezema

When he cannot productively focus this energy, however, what emerges is an inordinate mess, like the repetitive OZEBA. Working with high octane sounds means Rema often straddles the divide between irritating noise and a beautiful madness; and there are those who will think he has placed his album firmly in the former.

Music Review

·July 20, 2025·4 min read

No Sign of Weakness: Burna Boy’s personal but less purposeful album – Michael Kolawole

Burna Boy's collaboration with Shaboozey on the Afro-country track “Change Your Mind” brings a refreshing twist to the uneven album. This track stands out for its soft and heartfelt mood. It's one of the album's rare instances where the innovation truly springs from deep emotion rather than just genre-mixing flair.

Music Review

·June 29, 2025·3 min read

‘Olamide’: Olamide’s self-titled album is a playlist of half-hearted songs — Michael Kolawole

Almost a year after his comeback album, Ikigai, artist Olamide returns with his self-titled 11th studio album, Olamide. The title...

Music Review

·May 11, 2025·4 min read

Femi Kuti’s “Journey Through Life” Is a Bitter but Repetitive Reflection on Nigeria’s Woes

Kuti sounds jaded as he continues to address the discomforting political, economic, and social conditions of Nigeria on “Corruption Na Stealing”. Simmering with steady percussion, Femi Kuti shares incisive critiques with exhaustion, bemoaning the use of English language to subvert the truth and rule of law in favour of the rich.

Music Review

·September 8, 2024·3 min read

On adedamola, Fireboy returns to dazzling form – Michael Kolawole

One remarkable attribute of Fireboy is his ability to blend sublime lyrics with the mundane (Lamba). Throughout the album the lyrics poetically explore the complexities of romantic relationships with a touch of levity. The album is well-sequenced from the opening track to the end, but the smooth transition from “obaa sima” to “need me” is simple yet beautiful.

Music Review

·July 28, 2024·3 min read

‘Son of Chike’ announces the arrival of a legend – Adeniyi Odukoya

With featured appearances from Olamide, Qing Ming, Ladi Poe, Amaeya, and the late Mohbad, Chike manages to create an album that further consolidates the strength of his exciting discography while announcing without equivocation the arrival of a legend in the making.

Music Review

·July 21, 2024·4 min read

In Rema’s HEIS, a terrible beauty is born in sublime darkness – Michael Kolawole

Rema isn't big on songwriting, but he lets his brilliance shine through occasionally on a few songs. The major statement of this album isn't lyrical brilliance but a daring experiment of sounds. On HEIS, Rema defies all the rules and limitations many artists impose on their craft

Burna Boy’s “No Sign of Weakness”: A Soundtrack of Swagger, Struggles, and Sweet Wahala – TKO

No Sign of Weakness: Burna Boy’s personal but less purposeful album – Michael Kolawole

Ayọ Maff’s “Prince of the Street” is a Missed Coronation – Michael Kolawole

Stuck between Faith and Frustration: A Review of Hail Mary by Funmi Fetto -Akumbu Uche

A Different Kind of Memoir: A review of Oluwatomiloba Ademokun’s “Wellness Wahala” – Olukorede S Yishau

Can science fully account for the mysteries of human life?: A Review of Ayo Deforge’s Grips of Grief— Olukorede S Yishau

Tense and Emotionally Charged: Kemi Adetiba’s “To Kill a Monkey” is a pulsating crime thriller – Chinonso Nzeakor

Taiwo Egunjobi’s “The Fire and the Moth” sacrifices plot for visuals – Precious Nzeakor

Red herrings and misdirections in Yemi Morafa’s ‘The Party’ – Chinonso Nzeakor

LAMDA’s production of James Baldwin’s “The Amen Corner” interrogates Christian charity – Toni Kan

Intriguing Insights into Reincarnation: A review of Cheta Igbokwe’s “Awele” — Nenye Okoye

With “Wedlock of the Gods,” professor brings Nigerian storytelling and culture to USC main stage — Chinyere Amobi

The ghastly murder of musician Israel Njemanze in Lagos — Uzor Maxim Uzoatu

Mourning Ngugi wa Thiong’o in Peace; A response to Prof Indagasi — Andrew Maina

Poetry and the subconscious: A personal essay on Kwesi Brew’s “The Mesh” – Star Zahra

Tribute to Ngugi wa Thiong’o, my literary hero — Andrew Maina

Adrien Brody’s “Red Chip” revolution beyond the box office

I try to find that sweet spot between substance and form — Michael Afenfia

Toni Kan in Conversation with Nels Abbey who says – My favourite book would be The Coldest Winter Ever by Sister Souljah.

Nigerians Hussain Ahmed, Theresa Lola & Ajibola Tolase on shortlist for 2025 Derek Walcott Prize

Nigerian poet Maryam Bukar named UN Global Advocate for Peace

Kunle Afolayan crowned tourism entrepreneur

Music Review

Burna Boy’s “No Sign of Weakness”: A Soundtrack of Swagger, Struggles, and Sweet Wahala – TKO

Ayọ Maff’s “Prince of the Street” is a Missed Coronation – Michael Kolawole

The Feast – Falz’s Most Intimate Offering Yet – Michael Kolawole

Wizkid’s Morayo: A Sonically Rich and Thematically Inconsistent Experience – Michael Kolawole

Asake’s “Lungu Boy”: A bold but wonky attempt at reinvention – Michael Kolawole

With HEIS, Rema makes a play for the Afrobeats crown – Patrick Ezema

No Sign of Weakness: Burna Boy’s personal but less purposeful album – Michael Kolawole

‘Olamide’: Olamide’s self-titled album is a playlist of half-hearted songs — Michael Kolawole

Femi Kuti’s “Journey Through Life” Is a Bitter but Repetitive Reflection on Nigeria’s Woes

On adedamola, Fireboy returns to dazzling form – Michael Kolawole

‘Son of Chike’ announces the arrival of a legend – Adeniyi Odukoya

In Rema’s HEIS, a terrible beauty is born in sublime darkness – Michael Kolawole

Nigerians Hussain Ahmed, Theresa Lola & Ajibola Tolase on shortlist for 2025 Derek Walcott Prize

“The Man Died” continues impressive world tour

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