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Music of the Democratic Republic of the Congo

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Papa Wemba and Koffi Olomide, major figures in Soukous music, performing in 1988.
Music of the Democratic Republic of the Congo
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Francophone Africa

Congolese music is one of the most influential music forms of the African continent. Since the 1930s, Congolese musicians have had a huge impact on the African musical scene and elsewhere. Many contemporary genres of music, such as Kenyan Benga and Colombian Champeta, have been heavily influenced by Congolese music. In 2021, Congolese rumba joined other living traditions such as Jamaican reggae music and Cuban rumba on UNESCO's "intangible cultural heritage of humanity" list.[1][2]

Music of the Democratic Republic of the Congo varies in its different forms. Outside Africa, most music from the Democratic Republic of Congo is called Soukous, which most accurately refers instead to a dance popular in the late 1960s. The term rumba or rock-rumba is also used generically to refer to Congolese music, though neither is precise nor accurately descriptive.

People from the Congo have no single term for their own music per se, although muziki na biso ("our music") was used until the late 1970s, and now the most common name is ndule, which simply means music in the Lingala language; most songs from the Democratic Republic of the Congo are sung in Lingala.

History

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Colonial times (pre-1960)

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Since the colonial era, Kinshasa, Congo's capital, has been one of the great centers of musical innovation. The country, however, was carved out from territories controlled by many different ethnic groups, many of which had little in common with each other. Each maintained (and continue to do so) their own folk music traditions, and there was little in the way of a pan-Congolese musical identity until the 1940s.

Like much of Africa, Congo was dominated during the World War II-era by rumba. Congolese musicians appropriated rumba and adapted its characteristics for their instruments and tastes. In the 1950s, record labels began appearing, including CEFA, Ngoma, Loningisa and Opika, each issuing many 78 rpm records; Radio Congo Belge also began broadcasting during this period. Bill Alexandre, a Belgian working for CEFA, brought electric guitars to the Congo.

Popular early musicians include Camille Feruzi, who is said to have popularized rumba during the 1930s and guitarists like Zachery Elenga, Antoine Wendo Kolosoy and, most influentially, Jean Bosco Mwenda. Alongside rumba, other imported genres like American swing, French cabaret and Ghanaian highlife were also popular.

In 1953, the Congolese music scene began to differentiate itself with the formation of African Jazz (led by Joseph "Le Grand Kallé" Kabasele), the first full-time orchestra to record and perform, and the debut of fifteen-year-old guitarist François Luambo Makiadi (aka Franco). Both would go on to be some of the earliest Congolese music stars. African Jazz, which included Kabasele, sometimes called the father of modern Congolese music, as well as legendary Cameroonian saxophonist and keyboardist Manu Dibango, has become one of the most well-known groups in Africa, largely due to 1960's "Indépendance Cha Cha", which celebrated Congo's independence and became an anthem for similar movements across the continent.

Big bands (c. 1950–70)

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Into the 1950s, Kinshasa and Brazzaville became culturally linked, and many musicians moved back and forth between them, most importantly Nino Malapet and one of the founders of OK Jazz, Jean Serge Essous. Recording technology had evolved to allow for longer playing times, and the musicians focused on the seben, an instrumental percussion break with a swift tempo that was common in rumba. Both OK Jazz and African Jazz continued performing throughout the decade until African Jazz broke up in the mid-1960s, TPOK Jazz with Franco Luambo Makiadi[3] at the helm dominated soukous music for the next 20 years.

Tabu Ley Rochereau and Dr. Nico then formed African Fiesta, which incorporated new innovations from throughout Africa as well as American and British soul, rock and country. African Fiesta, however, lasted only two years before disintegrating, and Tabu Ley formed Orchestre Afrisa International instead, but this new group was not able to rival OK Jazz in influence for very long.

Many of the most influential musicians of Congo's history emerged from one or more of these big bands, including the colossus Franco Luambo Makiadi usually referred to simply as "Franco", Sam Mangwana, Ndombe Opetum, Vicky Longomba, Dizzy Madjeku and Verckys Kiamuangana Mateta. Mangwana was the most popular of these solo performers, keeping a loyal fanbase even while switching from Vox Africa and Festival des Marquisards to Afrisa, followed by OK Jazz and a return to Africa before setting up a West African group called the African All Stars. Mose Fan Fan of OK Jazz also proved influential, bringing Congolese rumba to East Africa, especially Kenya, after moving there in 1974 with Somo Somo. Rumba also spread through the rest of Africa, with Brazzaville's Pamelo Mounk'a and Tchico Thicaya moving to Abidjan and Ryco Jazz taking the Congolese sound to the French Antilles.

In Congo, students at Gombe High School became entranced with American rock and funk, especially after James Brown visited Zambia in 1970 and Kinshasa in 1974. Los Nickelos and Thu Zahina emerged from Gombe High, with the former moving to Brussels and the latter, though existing only briefly, becoming legendary for their energetic stage shows that included frenetic, funky drums during the seben and an often psychedelic sound. This period in the late 60s is the soukous era, though the term soukous now has a much broader meaning, and refers to all of the subsequent developments in Congolese music as well.

Zaiko and post Zaiko (c. 1970–90)

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Stukas and Zaiko Langa Langa were the two most influential bands to emerge from this era, with Zaiko Langa Langa being an important starting ground for musicians like Pepe Feli, Bozi Boziana, Evoloko Jocker and Papa Wemba. A smoother, mellower pop sound developed in the early 1970s, led by Bella Bella, Shama Shama and Lipua Lipua, while Verckys Kiamuangana Mateta promoted a rougher garage-like sound that launched the careers of Pepe Kalle and Kanda Bongo Man, among others.

By the beginning of the 1990s, many of the most popular musicians of the classic era had lost their edge or died, and President Mobutu's regime continued to repress indigenous music, reinforcing Paris' status as a center for Congolese music. Pepe Kalle, Kanda Bongo Man and Rigo Starr were all Paris-based and were among the most popular Congolese musicians. New styles genres like madiaba and Tshala Mwana's mutuashi achieved some popularity. Kinshasa still had popular musicians, however, including Bimi Ombale and Dindo Yogo.

In 1993, many of the biggest individuals and bands in Congo's history were brought together for an event that helped to revitalize Congolese music, and also jumpstarted the careers of popular bands like Swede Swede. Another notable feature in Congo culture is its sui generis music. The DRC has blended its ethnic musical sources with rumba and merengue to give birth to Soukous.[4]

Influential figures of Soukous and its offshoots (N'dombolo, Rumba Rock) are Franco Luambo, Tabu Ley, Simaro Lutumba, Papa Wemba, Koffi Olomide, Kanda Bongo Man, Ray Lema, Mpongo Love, Abeti Masikini, Reddy Amisi, Pepe Kalle, and Nyoka Longo. One of the most talented and respected pioneers of African rhumba - Tabu Ley Pascal Rochereau.

Congolese modern music is also influenced in part by its politics. Zaire, then in 1965, Mobutu Sese Seko took over, and despite massive corruption, desperate economic failure, and the attempted military uprising of 1991, he held on until the eve of his death in 1997, when the president, Laurent Kabila. Kabila inherited a nearly ungovernable shell of a nation. He renamed it the Democratic Republic of the Congo.

Kabila could not erase the ruinous effects of the Belgian and Mobutu legacies, and the country is now in a state of chronic civil war. Mobutu instilled a deep fear of dissent and failed to develop his country's vast resources. But the walls he built around his people and his attempts to boost cultural and national pride certainly contributed to the environment that bred Africa's most influential pop music. Call it soukous, rumba, Zairois, Congo music, or kwassa-kwassa, the pop sound emanating from Congo's capital, Kinshasa has shaped modern African culture more profoundly than any other.

Africa produces music genres that are direct derivatives of Congolese Soukous. Some of the African bands sing in Lingala, the main language in the DRC. The same Congolese Soukous, under the guidance of "le sapeur" Papa Wemba, set the tone for a generation of young guys who dress in expensive designer clothing. The numerous singers and instrumentalists who passed through Zaiko Langa Langa went on to rule Kinshasa's bustling music scene in the '80s with such bands as Choc Stars and Papa Wemba's Viva la Musica.

One erstwhile member of Viva la Musica, Koffi Olomidé, has been indisputably the biggest Zairean/Congolese star since the early '90s. His chief rivals are two veterans of the band Wenge Musica, J.B. Mpiana and Werrason. Mpiana and Werrason each claims to be the originator of ndombolo, a style that intersperses shouts with bursts of vocal melody and harmony over a frenetic din of electric guitars, synthesizers and drums. So pervasive is this style today that even Koffi Olomidé's current repertory is mostly ndombolo.

Hip-hop

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Kinshasa emerged as a hub for Congolese hip-hop through a complex convergence of cultural shifts, political change, and youthful determination. While the city in the late 1980s and 1990s was largely dominated by "musique typique"—a vibrant tradition led by prominent figures such as Koffi Olomidé, Werrason, and JB Mpiana—a new generation of artists began carving space for hip hop as early as the 1990s.[5] The roots of the Congolese hip-hop movement can be traced to the twilight years of Mobutu Sese Seko's regime when political instability and growing disillusionment among youth created fertile ground for alternative cultural expression. Affluent teenagers in residential neighborhoods, exposed to American and French rap through satellite television and tapes sent from relatives abroad, began emulating this genre, performing at student parties and school dances.[5] The fall of Mobutu in 1997, during the First Congo War, marked a pivotal shift: the liberalization of the media landscape allowed the proliferation of private radio and television stations, making unprecedented exposure for local rap music to be aired alongside dominant Congolese genres.[5]

Alex Dende, known professionally as Lexxus Legal, is a prominent figure in Congolese hip-hop and a co-founder of the group Pensée Brute Noire (PBN), recognized for pioneering a combative and protest-oriented style of rap in the Democratic Republic of the Congo.[6]
Innoss'B, born and raised in Goma, North Kivu Province, is known for blending traditional Congolese rhythms with contemporary hip-hop and R&B. His success has significantly impacted the genre in the DRC by enhancing its visibility, modernizing its sound, and demonstrating the global potential of Congolese youth in popular music.[7]

Between 1997 and 2001, pioneering Congolese rap groups based in Kinshasa, including Bawuta-Kin, PNB (Pensée Nègre Brute), Section Bantoue, and Smoke emerged, self-producing their music with scant financial resources. Operating on modest budgets, they recorded in home studios, pooled money to shoot music videos, and paid television hosts for ephemeral airplay slots.[5] These early artists encountered resistance in a musical culture that had long been rooted in danceability, rhythmic energy, and escapist lyricism. In contrast, hip-hop's proclivity for incisive social commentary rendered its practitioners as iconoclasts—derisively labeled empêcheurs d'ambiancer en rond, or killjoys—within a community that preferred music that encouraged euphoric enjoyment.[5] Despite scarce commercial support, especially after local music producers fled during the looting of the early 1990s, Kinshasa's rap scene persisted. Artists turned to public venues like La Halle de la Gombe to perform in professional conditions.[5] Meanwhile, rap spread from the elite neighborhoods into working-class areas such as Ndjili, the Yolo quartier of Kalamu commune, and Kabambaré Territory in Maniema Province, with youth incorporating Lingala, French, Kikongo, Swahili, and other local languages into their lyrics.[5] Some acts, like Bawuta-Kin and PNB, incorporated samples from Congolese music legends such as Franco Luambo, Koffi Olomidé, and Tshala Muana, creating a distinctive local flavor that helped bridge generational and cultural divides.[5] The scene's growing legitimacy was underscored by a landmark moment in December 2003, when approximately 60,000 people gathered at the Stade des Martyrs for a major hip-hop concert. Although often marginalized and lacking financial backing, Kinshasa's hip-hop artists succeeded in establishing a vibrant subculture.[5] One of the movement's most influential figures is Lexxus Legal, a co-founding member of PNB. Known for his politically engaged lyrics, Lexxus Legal became a symbol of Congolese hip-hop activism.[8][9][10][11] He earned national and international recognition, receiving accolades such as the African Renaissance Hip Hop Award (Senegal, 2010) and the Ndule Award (2009).[8][9][12] He is widely regarded as the "icon of Congolese hip hop" and a prominent voice in African rap.[8][13]

Other artists followed with varying stylistic approaches. Goma-born rapper Innoss'B gained continental recognition with his 2017 hit "Ozo Beta Mabe",[14][15][16][17] and became the first Congolese musician to surpass 100 million YouTube views with his "Yo Pe" remix featuring Tanzanian singer Diamond Platnumz.[18][19][20] Kinshasa native Gaz Fabilouss achieved similar success with his 2018 EP Jeune courageux, which produced popular tracks like "Aye" (featuring Koffi Olomidé), "Salaire", and "Love Story".[21] Rapper Alesh, born in Kisangani, is noted for his sharp political commentary and humorous portrayal of Congolese life. His 2018 single "Biloko ya boye", released in the lead-up to national elections, urged voters to hold corrupt politicians accountable.[22] His lyrics frequently explore themes such as governance failures, poor living conditions, and social inequality.[22]

DJ Spilulu performing live at the Amani Festival.

Similarly, the duo MPR (Musique Populaire de la Révolution), composed of Zozo Machine and Yuma, embraces a nostalgic aesthetic drawn from Mobutu-era symbolism.[22] Their 2019 breakout track "Dollars" catalyzed widespread recognition,[22] followed in 2020 by their inclusion in the rap collective Cité Zaïre, whose freestyle "Éternel Courageux" exhorted Congolese youth toward self-determination and industriousness.[23] MPR's 2021 mixtape Première leçon, featuring tracks such as "Nini to sali té", garnered acclaim for its critique of post-independence governance.[24][25][26] The song opens with a direct appeal—"Father, nini to sali té"—and traces the struggles of a Congolese youth who, despite completing his education and turning to faith, remains unemployed and destitute. The music video concludes with a tragic climax: the young man's mother dies due to lack of access to medical care, symbolizing the despair many young Congolese experience.[25][27] The video was banned nationwide by the National Commission for the Censorship of Songs and Entertainment (Commission nationale de censure des chansons et des spectacles; CNCCS) for violating procedural regulations, including failure to seek prior approval—a common tactic used to restrict politically sensitive content.[25][28][29] In the same vein, Kinshasa-based rapper Bob Elvis also rose to fame through politically conscious compositions that confront institutional hypocrisy.[30][31] His track "Lettre à Ya Tshitshi" criticizes the distribution of luxury vehicles to national deputies, juxtaposing this extravagance with ongoing social neglect. The accompanying music video depicts the artist standing before a coffin adorned with the image of Étienne Tshisekedi, symbolically addressing the deceased opposition leader and father of President Félix Tshisekedi.[25][28] Through this visual and lyrical homage, Bob Elvis questions the sincerity of the ruling party's slogan, "Le peuple d'abord" ("The People First"), and highlights enduring issues such as lack of clean water, political deadlock, the M23 conflict in the east, and widespread unemployment. Like MPR, Bob Elvis also faced state censorship, with six of his videos—including "Lettre à Ya Tshitshi"—being banned.[25][28]

Female representation in the Congolese hip-hop scene remains limited, but Sista Becky has emerged as a trailblazer. Releasing her debut single "Mr le Rap" in 2017, she followed with tracks like "Flip Flop", "Notorious Spirit", and "Emotions", establishing herself as the leading female voice in a male-dominated space.[22] In 2023, Kolwezi-born RJ Kanierra experienced rapid success with his single "Tia", which amassed over two million YouTube views in just two weeks.[32][33] The track topped charts on various platforms, including Boomplay and Shazam,[34][35] and inspired a viral dance challenge embraced by celebrities such as boxer Martin Bakole and comedian Herman Amisi.[36][37][38] Mbote.cd, a leading Congolese entertainment site, named Tia "Song of the Year".[39] Other noteworthy contributors to the genre include Marshall Dixon, NMB La Panthère, Lyke Mike, Herléo Muntu, K-Melia, Negue Fly Nsau, Celeo Scram, and Spilulu.[40]

See also

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References

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  1. ^ Haugerud, Angelique; Stone, Margaret Priscilla; Little, Peter D., eds. (2000). Commodities and Globalization: Anthropological Perspectives. Lanham, Maryland, United States: Rowman & Littlefield. pp. 34–49.
  2. ^ "Beneath the rhythm, Congolese rumba is a link to the past". The Economist. 22 January 2022. ISSN 0013-0613. Retrieved 22 August 2023.
  3. ^ Christgau, Robert (3 July 2001). "Franco de Mi Amor". Village Voice. Retrieved 31 December 2019.
  4. ^ Stone, Ruth M. The Garland Handbook of African Music. p. 133. Retrieved 24 August 2014.
  5. ^ a b c d e f g h i Cagnolari, Vladimir (27 February 2004). "Les rappeurs de Kinshasa" [Rappers from Kinshasa]. Radio France Internationale (in French). Paris, France. Retrieved 15 June 2025.
  6. ^ "Lexxus Legal (République démocratique du Congo)". Radio France Internationale (in French). 13 August 2010. Retrieved 14 June 2025.
  7. ^ "Innoss'b le meilleur rappeur de la République démocratique du Congo". Radio France (in French). 29 November 2022. Retrieved 14 June 2025.
  8. ^ a b c "Goma: Amani Festival" (PDF). Amanifestival.com. Goma, North Kivu, Democratic Republic of the Congo. February 2014. p. 6. Retrieved 5 October 2023.
  9. ^ a b "Selam: Lexxus Legal (DRC)". Selam.se. Retrieved 15 June 2025.
  10. ^ "Lexxus Legal (République démocratique du Congo)" [Lexxus Legal (Democratic Republic of Congo)]. Radio France Internationale (in French). Paris, France. 13 August 2010. Retrieved 15 June 2025.
  11. ^ Ipan, Bienvenu (16 May 2011). "Congo-Kinshasa: Figure emblématique du hip hop - Lexxus Légal fait la fierté des artistes congolais" [Congo-Kinshasa: Iconic figure of hip hop - Lexxus Légal makes Congolese artists proud]. Le Potentiel (in French). Kinshasa, Democratic Republic of the Congo. Retrieved 14 June 2025.
  12. ^ Makaya, Rominique (18 August 2018). "RDC: le rappeur Lexxus Légal candidat à la députation nationale" [DRC: Rapper Lexxus Légal candidate for national parliament]. Adiac-congo.com (in French). Brazzaville, Republic of the Congo. Retrieved 15 June 2025.
  13. ^ "Lexxus Légal décroche un nouveau diplôme" [Lexxus Legal receives a new diploma]. Mbote (in French). Kinshasa, Democratic Republic of the Congo. 24 October 2021. Retrieved 15 June 2025.
  14. ^ "Innoss'B: le clip " Ozo beta mabe " atteint 1 million des vues sur Youtube" [Innoss'B: the clip "Ozo beta mabe" reaches 1 million views on Youtube]. mbote.cd (in French). Kinshasa, Democratic Republic of the Congo. 27 July 2018. Retrieved 4 March 2024.
  15. ^ "Innoss'B: "Ozo Beta Mabe" attend le million de vues sur YouTube!". Talents2Kin (in French). Kinshasa, Democratic Republic of the Congo. 27 July 2018. Retrieved 4 October 2023.
  16. ^ "BBC World Service - This Is Africa, Innoss B". BBC News. Retrieved 4 October 2023.
  17. ^ "L'artiste musicien, Innoss B offre un toit aux sinistrés de Goma" [Musician Innoss B provides shelter to Goma victims]. Mediacongo.net (in French). Kinshasa, Democratic Republic of the Congo. 21 August 2021. Retrieved 21 July 2023.
  18. ^ Kupa, Gede Luiz (15 July 2020). "Musique: Innoss'B, premier musicien Congolais évoluant en RDC à faire 100 millions de vues sur YouTube avec "Yo Pe" (remix)" [Music: Innoss'B, first Congolese musician playing in the DRC to have 100 million views on YouTube with "Yo Pe" (remix)]. 7sur7.cd (in French). Retrieved 4 October 2023.
  19. ^ "Balance ton tube: "Yopé Remix", un tube congolais signé Innoss'B". rts.ch (in French). 28 July 2020. Retrieved 4 October 2023.
  20. ^ Bolakongo, Grace (4 October 2021). "Koffi Olomide : " Innoss'B est le numéro 1 sur le plan de vue sur YouTube…Yo pe est la chanson congolaise la plus vue avec 180 M de vues "" [Koffi Olomide: "Innoss'B is number 1 in terms of views on YouTube…Yo pe is the most viewed Congolese song with 180 million views"]. mbote.cd (in French). Kinshasa, Democratic Republic of the Congo. Retrieved 5 March 2024.
  21. ^ Mpiutu, Miguel Jegou (23 July 2021). "Découvrez l'EP "Jeune courageux" de Gaz Fabilouss" [Discover the EP "Jeune courageux" by Gaz Fabilouss]. Mbote (in French). Kinshasa, Democratic Republic of the Congo. Retrieved 19 September 2024.
  22. ^ a b c d e Badibanga, Walter (11 August 2020). "5 rappeurs au top en RDC" [5 top rappers in the DRC]. Music In Africa (in French). Retrieved 15 June 2025.
  23. ^ Aodren (9 July 2020). "Le collectif Cité Zaïre sort son freestyle Éternel Courageux" [The Cité Zaïre collective releases its freestyle Éternel Courageux]. djolo.net (in French). Retrieved 15 June 2025.
  24. ^ Mpiutu, Miguel Jegou (6 November 2021). "Découvrez la mixtape "Première leçon" de MPR" [Discover MPR's "Première leçon" mixtape]. Mbote (in French). Kinshasa, Democratic Republic of the Congo. Retrieved 15 June 2025.
  25. ^ a b c d e "Musique: les chansons "Nini to sali té" et "Lettre à ya Tshitshi" interdites de diffusion" [Music: the songs "Nini to sali té" and "Lettre à ya Tshitshi" banned from broadcast]. Radio Okapi (in French). 9 November 2021. Retrieved 15 June 2025.
  26. ^ Desorgues, Pierre (10 November 2021). "RDC: les chansons des rappeurs MPR et Bob Elvis, interpellant le président Tshisekedi, sont interdites" [DRC: Songs by rappers MPR and Bob Elvis, challenging President Tshisekedi, are banned]. TV5Monde (in French). Paris, France. Retrieved 15 June 2025.
  27. ^ ""Nini To Sali Te", le pessimisme congolais de MPR" ["Nini To Sali Te", the Congolese pessimism of MPR]. Pan African Music (in French). 8 November 2021. Retrieved 15 June 2025.
  28. ^ a b c Badibanga, Walter (10 November 2021). ""Nini tosali te": l'émouvant cri du cœur de MPR" ["Nini tosali te": MPR's moving cry from the heart]. Music In Africa (in French). Retrieved 15 June 2025.
  29. ^ Mansangu, Raphaël (8 November 2021). "RDC: Patrick Muyaya positive la chanson "Nini tosali te" du groupe MPR" [DRC: Patrick Muyaya praises the song "Nini tosali te" by the group MPR]. Ouragan.cd (in French). Kinshasa, Democratic Republic of the Congo. Retrieved 15 June 2025.
  30. ^ Miller, Anna Lekas (19 September 2018). "As Congolese elections near, political art is becoming more dangerous. Just ask Bob Elvis". International Women's Media Foundation. Washington, D.C., United States. Retrieved 15 June 2025.
  31. ^ "DR Congo election: Bob Elvis, rapping for freedom". BBC. Broadcasting House London, England, United Kingdom. 28 December 2018. Retrieved 15 June 2025.
  32. ^ Lukau, Onésime (26 November 2023). "RJ Kanierra signe chez Sony Music Africa" [RJ Kanierra signs with Sony Music Africa]. Ouragan.cd (in French). Kinshasa, Democratic Republic of the Congo. Retrieved 16 May 2024.
  33. ^ "RJ Kaniera : son hit "Tia" cumule déjà 2 millions de vues" [RJ Kaniera: his hit "Tia" already has 2 million views]. Mbote.cd (in French). Kinshasa, Democratic Republic of the Congo. 12 October 2023. Retrieved 16 May 2024.
  34. ^ "RJ Kaniera : son hit "Tia" cumule déjà 2 millions de vues" [RJ Kaniera: his hit "Tia" already has 2 million views]. Mbote.cd (in French). Kinshasa, Democratic Republic of the Congo. 12 October 2023. Retrieved 16 May 2024.
  35. ^ "Boomplay-Top chansons Cameroun Avril: Dadju & Tayc en tête, Fally aligne 3 titres, Rj Kanierra dans le top 10" [Boomplay-Top chansons Cameroun Avril: Dadju & Tayc en tête, Fally aligne 3 titres, Rj Kanierra dans le top 10]. Talents2kin.com (in French). Kinshasa, Democratic Republic of the Congo. 13 May 2024. Retrieved 26 August 2024.
  36. ^ Muyaya, Ruphin (3 March 2024). ""Tia" de RJ Kanierra : Première chanson Congolaise à atteindre le million sur Shazam!" ["Tia" by RJ Kanierra: First Congolese song to reach a million on Shazam!]. Strong2kin Moov (in French). Kinshasa, Democratic Republic of the Congo. Retrieved 16 May 2024.
  37. ^ "Martin Bakole se lâche dans la danse de la chanson « Tia » de RJ Kanierra" [Martin Bakole lets loose in the dance of the song "Tia" by RJ Kanierra]. Mbote.cd (in French). Kinshasa, Democratic Republic of the Congo. 9 October 2023. Retrieved 16 May 2024.
  38. ^ "RJ Kanierra: le remix de la chanson "Tia" serait en préparation en featuring avec Gaz Mawete" [RJ Kanierra: the remix of the song "Tia" would be in preparation featuring Gaz Mawete]. Mbote.cd (in French). Kinshasa, Democratic Republic of the Congo. 11 October 2023. Retrieved 16 May 2024.
  39. ^ "La chanson "Tia" de RJ Kaniera élue "Son de l'année"" [RJ Kaniera's song "Tia" voted "Sound of the Year"]. Mbote.cd (in French). Kinshasa, Democratic Republic of the Congo. 30 December 2023. Retrieved 16 May 2024.
  40. ^ "Top meilleurs rappeurs de la RDC qui ont du succès et dont on parle rarement" [Top best rappers from the DRC who are successful and rarely talked about]. Mbote (in French). Kinshasa, Democratic Republic of the Congo. 11 February 2017. Retrieved 15 June 2025.

Bibliography

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