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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

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

·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.

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

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

On adedamola, Fireboy returns to dazzling form – Michael Kolawole

An Unsettling and Complex Vision of Lagos in Okungbowa’s ‘Lost Ark Dreaming’ – Sima Essien

A review of Fatima Bala’s ‘Hafsatu Bebi’- Olukorede S. Yishau

Review of Obase-Sam Ikoi’s “The Comedian’s Diary” – Jude Dibia

RMD’s Radio Voice Finds Strength in Subtlety and Social Insight – Michael Kolawole

Descent into the Underground World Of Baby Farming: A Review Of “Baby Farm” – Precious Nzeakor.

Omoni Oboli’s Love In Every Word delivers maximum thrills– Michael Kolawole

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

Toyin Akinosho @ 65: Tribute to a polymath – Toni Kan

Time is Different in Toronto – Chidera Udochukwu-Nduka

Remembering Kole Omotoso — Uzor Maxim Uzoatu

FirstBank’s DecemberIssaVybe lights up Lagos with Davido concert — Farouk Mohammed

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.

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

Sophie Okonedo leads all-star cast in BBC’s animated special ‘The Scarecrows’ Wedding’

Mariana Larralde’s ‘Alegría’ captures Lagos’ soul in Omenka exhibition

Bill Horrigan, pioneer of video art in museums, dies at 73

Music Review

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

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

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

Sophie Okonedo leads all-star cast in BBC’s animated special ‘The Scarecrows’ Wedding’

Kesha drops AI art on “Delusional” cover after backlash

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