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Music Review
Music Review

Naira Marley’s God’s Timing is the Best is Trite – Emmanuel Daraloye
Jay-P’s “Mighty Error” is the perfect Nigerian Song of the Moment — Chimezie Chika
A Quick Thing on Ayra Starr – Adeniyi Odukoya
Book Review
Book Review

Manipulating scriptures to hold a people hostage: A review of AI Akhigbe’s ‘God for Sale’ — Sylva Nze Ifedigbo
Who’s the real son in “The Son of the House”? — Peju Akande
Ayodele Olofintuade’s tale of badly-behaved women — Olukorede S. Yishau
Movie Review
Movie Review

Unknown Nigerian director is No.3 on Netflix
Find out why this Tunde Kelani film is No.1 on Netflix Naija – ‘Joba Ojelabi
“The Village Headmaster” is back with large doses of nostalgia – Peju Akande
Stage Review
Stage Review

OSAMEDE: Society in search of heroes and heroines -Ozoro Opute
An extra that did more than just waka pass in “Mamma Mia.. the Musical” -Peju Akande
Mamma Mia… the musical delivers a showstopper – Toni Kan
Essays
Essays

Cattle and Tattle: Where Tuesday is the new Monday — Mark-Anthony Obumneme Osuchukwu
Drawing the red line on infanticide — Wole Soyinka
A tale of two Biafran novels — Olukorede Yishau
Rare Harry Potter book to sell for £30,000
Interviews
Interviews

A Quick Thing on Ayra Starr – Adeniyi Odukoya
Tribute: Orlando Julius Ekemode & the Rest of Us – Dami Ajayi
Meet Onyeka Nwelue: The Nigerian who established James Currey Fellowship at Oxford
News
News

June 12: A daughter’s search for her father, how a country found its missing pages
University of Cambridge: How Soyinka, Gates, Appiah, broke new grounds and changed lives
Tolu Oloruntoba wins $65,000 Griffin Poetry Prize
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June 26, 2022

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About The Lagos Review

At The Lagos Review, we believe that a review is the first critical engagement with a work of art, books, movies, music, plays etc. It helps shape opinion, excite conversation, and push engagement.

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·June 26, 2022·12 min read

June 12: A daughter’s search for her father, how a country found its missing pages

·June 26, 2022·5 min read

Manipulating scriptures to hold a people hostage: A review of AI Akhigbe’s ‘God for Sale’ — Sylva Nze Ifedigbo

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