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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

·June 23, 2024·3 min read

Review of Tems’ “Born in the Wild” – Precious Nzeakor

If this album is a collection of her experiences, she should have more to share than love and the struggles of adjusting to her newfound fame.

Music Review

·June 16, 2024·3 min read

‘The Year I Turned 21’: Ayra Starr’s manifesto of growth and power – Patrick Ezema

But it is the newcomers that provide some of the album's sharpest sonic touch points. P.Priime works in a brilliant interpolation of Wande Coal's You Bad for Jazzy's Song, as Ayra revels in a night spent grooving inebriated in a club

Music Review

·May 12, 2024·3 min read

Ruger and BNXN’s RnB EP: From beef to a collabo lacking in depth – Patrick Ezema

RnB is not the best work from either of these stars, forget the fact that it does not even attempt to acknowledge the saga behind its creation, but a combination of the superb talents and decent chemistry of Ruger and BNXN makes it a great addition to both their discographies.

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

Music Review

·June 16, 2024·3 min read

With “Born in the Wild”, Tems has crafted a deeply personal soundscape – Michael Kolawole

"Falling" featuring J. Cole depicts, on the other hand, the end of a romantic relationship. Tems' lyrics reveal a sense of disillusionment and self-realization, expressing the need to part ways despite lingering emotions. J. Cole's verse adds depth, illustrating the confusion and pain of a love turned toxic, and the inevitable dissolution.

Music Review

·June 9, 2024·3 min read

On “The Year I turned 21”, Ayra Starr defies the sophomore slump – Michael Kolawole

Despite the brilliance of some of the songs, they end sooner than expected, just as one begins to enjoy them. However, the seamless fusion of genres and concise song structures contribute to the album's freshness and appeal, making it a standout in contemporary music.

Music Review

·May 12, 2024·3 min read

Shallipopi, Shakespopi, and the ridiculous attempt to localize Shakespeare – Yinka Adetu

Ultimately, Shallipopi’s endeavor to elevate himself through his second studio album, Shakespopi, which has made it to the Spotify Nigeria and Apple Music charts, in no way showcases masterful creativity or experimentation

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

On adedamola, Fireboy returns to dazzling form – Michael Kolawole

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

Jos, end times and other matters in Umar Turaki’s ‘Every Drop of Blood Is Red’ – Olukorede S Yishau

Nathaniel Bivan’s ‘Boys, Girls and Beasts’: An explosive tale that sings harmoniously — Olukorede S Yishau

Mukoma wa Ngugi’s “We, The Scarred” presents a catalogue of losses – Precious Nzeakor

Suspicion Review: Tosin Igho’s Supernatural Thriller Is Ambitious in Scope – Joseph Jonathan

Hijack 93: A thriller that fails to deliver the thrills – Joseph Jonathan

Ramsey Nouah’s Tòkunbò is like a two-headed snake – Carl Terver

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

OSAMEDE: Society in search of heroes and heroines -Ozoro Opute

Making a Case for Genre Diversity As The Future of Nollywood – Joseph Jonathan

A Writer’s Guide on Migration, sort of… – Tarinabo Diete

Uprooted and setting down new roots in France – Oyindamola Depo-Oyedokun.

‘Soyinka’s Metamorphosis: Echoes from The People’s Mandate!’ This is my story — Sunny Igboanugo

‘The Call’ is nondiscriminatory and everybody will enjoy it — Dr Bisi Adigun

Bimbo Manuel set to present “The Call” at LITF, says it’ll connect with the audience

There is no reason why a Nigerian child cannot speak a single Nigerian language — Ndidi Chiazor Enenmor

Hammer Museum set to debut ‘Monument Eternal’ exhibition on Alice Coltrane

Wendy Shay’s heartbreak anthem “Old Flame” ignites music scene

Fameye bids farewell to ‘Peter’ era with new EP ‘Three Times of Peter’

Music Review

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

Review of Tems’ “Born in the Wild” – Precious Nzeakor

‘The Year I Turned 21’: Ayra Starr’s manifesto of growth and power – Patrick Ezema

Ruger and BNXN’s RnB EP: From beef to a collabo lacking in depth – Patrick Ezema

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

With “Born in the Wild”, Tems has crafted a deeply personal soundscape – Michael Kolawole

On “The Year I turned 21”, Ayra Starr defies the sophomore slump – Michael Kolawole

Shallipopi, Shakespopi, and the ridiculous attempt to localize Shakespeare – Yinka Adetu

‘The Man Died’ heads to Egypt after Carthage film fest

Hammer Museum set to debut ‘Monument Eternal’ exhibition on Alice Coltrane

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