• Dami Ajayi
• Emeka Ugwu
• Sa’eed Husaini

On the latest AIAC podcast, the gang from the Nigerian Scam explores how Afrobeats got globalized, who captured the value, and why the party may be ending.

• Dami Ajayi

Wizkid’s dispute with Seun Kuti and the release of his latest EP with Asake highlight the widening gap between Afrobeats’ commercial triumph and Fela Kuti’s political inheritance

• Dotun Ayobade

What can the lives of the women behind Afrobeat tell us about creativity, resistance, and the interplay of power and pleasure in 1970s Nigeria?

• Simon Adetona Akindes

In the second of five articles on Afrobeat music in South America, political scientist Simon Akindes writes about the all women and nonbinary Brazilian band, Funmilayo Afrobeat Orquestra.

• Simon Adetona Akindes

In the first of five articles on Afrobeat in South America, Simon Adetona Akindes discusses Abayomy Afrobeat Orquestra and Bixiga 70 from Brazil.

• Emilie Guitard
• Clémentine Chazal

What does Emmanuel Macron's visit to Fela Kuti's New Afrika Shrine say about what happened to Fela Kuti's legacy in Nigeria.

• Sean Henry Jacobs

I asked African and Africanist thinkers and commentators what they make of Syriza's approach to dealing with creditors and what wider connections they can draw to our conditions.

• Dan Moshenberg

Thatcher’s energetic opposition to sanctions and support for right wing forces prolonged the state of violence across the breadth of Southern Africa.

• Justin Scott

A post that takes a warm, nostalgic trip through an aspect of West Africa's rich musical heritage: Nigerian highlife.

• Shamira Muhammad

Africa is everywhere on "Landing on a Hundred," the new album by American guitarist and singer, Cody ChesnuTT. It's in the instrumentation, the arrangements and in his voice.

• Tom Devriendt

In this Weekend Bonus Music Break, No.23, features musicians as diverse as Ghanaian-Swiss duo, OY, to familier sightings on Africa Is a Country: Spoek Mathambo and Sinkane.

• Dylan Valley

Youngsta built a reputation on doing “straight up Cape Town hip hop,” but his recent output suggests he is now appealing to mainstream audiences.

• Sean Henry Jacobs

In the mid-1980s, Fela Kuti and his band, then in their prime, came to play in New York City.

• Sean Henry Jacobs

The New York Times' chief theater critic, surprise, misses the point about the musical, "Fela!"