Afrobeats
Alté Doesn’t Need to Be Found: Why Inaccessibility Is the Point
The alté scene built something rare: a community whose value lived in its inaccessibility. Now that everyone wants in, the...
The Grammy Mirage: Why the Nigerian Obsession with Western Validation is a Losing Game
The morning after the Grammy Awards has become a recurring ritual of collective heartbreak for the Nigerian music industry. Once...
The “Predator” Narrative: Is Wizkid Really Just Feeding Off the New School?
If you’re seeing this, you’ve been deceived. You likely clicked because you wanted to see another veteran artist dragged for...
Why Everyone Is Romanticising 2016 Right Now
Open TikTok or X and 2016 will eventually find you. A clip of someone driving through traffic with an old...
Does Shoday Deserve Mainstream Attention With His Kind of Music?
Dismissing Shoday’s sound as ‘music for lash techs’ isn’t a critique of quality, it is an exercise in classism. For...
Seven Things the Nigerian Music Industry Needs to Abandon in 2025
These habits probably aren’t disappearing. We’re realistic about that. But if they can’t be abandoned completely, can we at least...
Shallipopi’s ‘Auracle’ Album Review: His Best Yet or a Western Gamble?
Very much has been expected of Shallipopi, yet also at the same time, nothing much has been expected of him....
Seyi Vibez’s Fuji Moto: The Power, The Promise, and the Parts That Don’t Connect
Seyi Vibez has spent the last two years turning relentless output into identity. Multiple projects, endless singles and a street-pop...
One Year Later: How Wizkid’s Morayo Became a Quiet Legacy Marker
A year after its release on 22 November 2024, Wizkid’s Morayo reads differently from its arrival moment. When it dropped, the conversation...
Audience Fatigue: Is Nigerian Music Over-Saturated, and Are We Consuming It Properly?
The global music landscape, particularly the Nigerian music scene, is grappling with a paradox of digital abundance that borders on...
