SHOUTS - Music from the Rooftops!

A group of dancers in traditional attire performing a lively dance outdoors, surrounded by spectators in a rural setting. — Congolese musician Fally Ipupa in the middle of his dancers. Screenshot from the video for the song “Eloko Oyo” (“This Thing” in Lingala) on Fally Ipupa‘s YouTube channel.

The Democratic Republic of the Congo (DRC) owes much of its global renown to its music, reflecting its cultural diversity.

The country‘s music transcends its borders. On December 14, 2021, UNESCO added the Congolese rumba to its intangible heritage list. This recognition reflects the global influence of this much-loved music.

To learn more, read: The rebirth of rumba and the musicians who are bringing the sound to a new generation of music lovers

The DRC owes much of its music reputation to its estimated 110 million citizens, who are split between more than 400 ethnic groups. For generations, its music has drawn on this wealth of cultural diversity. The country is also multilingual. French is the country’s official language, while Lingala, Swahili, Kituba, and Luba-Kasai have national status. From a musical perspective, Lingala remains the country’s dominant language.

A dynamic tradition that moves with the times

DR Congolese music originates from the traditions and customary practices of each ethnic group. The Nande, Mongo, Luba, and Kongo people play their music on specific instruments: Inanga (African harp), Ngoma (drum), Kundi (African harp), Lokole (slit drum), Mbira (thumb piano), Ngombi (arched harp), Seto (African harp), and Pluriarc (bow lute).

The song “Mbomboliye” by the Mongo people, a call to celebrate good news, is a perfect example of this music:

However, traditional DR Congolese music constantly evolves, incorporating contemporary African and other music trends. A combination of modern and traditional musical instruments makes this possible. Electric guitars, synthesizers, drums, cajons (box-shaped percussion instruments), keyboards, lokole (slit drums), and likembe (lamellophones) add a stylish touch to this music while preserving its cultural origins.

More than just rumba

The DR Congolese music scene is incredibly diverse and dynamic, encompassing various music styles and genres. The rumba originated in the ancient Kingdom of Kongo (now the DRC) and was the first music genre to represent the DRC’s identity. It experienced a resurgence in the 1930s due to the growing popularity of the Cuban rumba, the music of enslaved people living on this Caribbean island for centuries.

After the rumba, the DRC became known for the Soukous in the 1960s. This genre, which derived from the rumba but features a different musical rhythm, also conquered the African continent and beyond. The Ndombolo, a mixture of the rumba and the Soukous, appeared in the 1990s, reflecting the boundless creativity of DR Congolese musicians.

Given the similarities between these music genres, several artists have become big names in all three styles. However, each generation adds its own contribution to the DRC’s musical identity.

Big names in Congolese music

Many artists and groups’ identities cross the border in both directions between the DRC and the Republic of the Congo, contributing to the country’s global musical influence. Among these artists is Grand Kallé, whose classic hit “Indépendance Cha Cha” left its mark on the African independence movement.

Another big name is Tabu Ley, or Franco, who became a DRC music icon with his classic hit, “Mario”:

Abeti Masikini and Tshala Muana emerged at the turning point between the first and second generations. Zaïko Langa Langa, King Kester Emeneya, Jean-Serge Essous, Madilu System, Édouard Nganga, Théo Blaise Kounkou, Mbilia Bel, Simaro Lutumba, Koffi Olomidé, and the renowned Papa Wemba, known as the King of Congolese Rumba and the King of la Sape (Society of Ambiance-Makers and Elegant People), later joined them.

Here is the video for “Yolele” by Papa Wemba:

The third generation includes artists like JB Mpiana, Werrason, Ferre Gola, and Fally Ipupa. Today, Fally Ipupa is considered the DRC’s most successful musician. In addition to the rumba, for which he holds several titles, he has been involved in various other music genres.

Here is the video for Fally Ipupa‘s song “Alliance”:

Across the border in the Republic of the Congo (Congo-Brazzaville), Youlou Mabiala, Doudou Copa, Roga-Roga, and Aurlus Mabélé, who is one of the leading figures in the soukous genre, have also written some of the most beautiful pieces of music shared with the DRC.

Although DRC music has its distinctive aesthetic appeal, it also plays a quasi-political role. Grand Kallé’s stance in “Indépendance Cha Cha,” which became an anthem for anti-colonial groups in DRC and throughout Africa, is a perfect example. In this country, music is also a tool of protest, especially under Mobotu Sese Seko‘s regime from 1965 to 1997, when artists criticized and denounced its oppression and corruption. Music also often conveys social messages on mutual aid and conviviality within the community.

DR Congolese music has evolved in recent years, combining two African music genres: Amapiano from South Africa and Afrobeat or Afro pop from Nigeria. In September 2023, RJ Kanierra followed the Amapiano trend with the song “Tia,” receiving over 51 million views on YouTube.

Here is the video for “Tia”:

Artists like Gaz Mawete and Innoss’B also lead the way in the Afrobeat genre in the DRC.

Here is the video for one of Innoss’B’s songs, “Olandi,” which has received more than 53 million views on YouTube:

Other women musicians like M’bilia Bel and Nathalie Makoma and men like Lokua Kanza, Ray Lema, and Jean Goubald are also DRC ambassadors on the music scene, demonstrating boundless creativity and innovation.

Listen to our DRC music playlist on Spotify. For more eclectic music from around the world, see the Global Voices Spotify Profile.

This article was written by Jean Sovon and originally published by Global Voices on 27 March 2025. It is republished here under the media partnership between Shouts and Global Voices.

Music Action International is a highly interesting charity based in the UK that uses music as a connection and healing mechanism. I contacted Lis Murphy, the creative director of the project, and asked her a few questions about their work and the power of music.

For those who are not familiar with Music Action International, what is the charity about?

We are a collective of people from around the world who use the power of music to overcome the effects and causes of war, torture and armed conflict.

How did the charity start?

I set up the organisation a few years ago. My first job after studying music was working in Mostar, Bosnia and Hercegovina a few years after the war ended. I was very moved by the people I worked with who became close friends in the way that music was used as a tool to express emotions to difficult to talk about and to bring people together in a joyful and positive way. When I came home to Manchester I worked with refugees and asylum seekers in museums and art galleries and then decided with a group of friends that we needed to bring more music to peoples’ lives in a thoughtful and ethical way to really transform lives not only of war survivors who had lived through horrific experiences but also to connect us all together.

Lis Murphy, creative director of Music Action.

A band that formed through Music Action, called Everyday People, was performing in the beginning of February at the London Remixed Festival. Can you tell us a bit about this band?

This is an amazing group of teenagers who have been forced to flee their country because of war and are now in London without friends or family. They come from DR Congo, Syria, Eritrea, Ethiopia, Kurdistan, Iran and Afghanistan. We created a beautiful project in partnership with British Red Cross to support these young people through writing and performing their own music, supported by a highly experienced team of international musicians, some of whom also come from a refugee background.

What are some of the other music projects happening at Music Action?

We create music with torture survivors who are highly traumatised with our programme “Stone Flowers”, their music is really powerful and uplifting. We also support people who have recently arrived from war or conflict in drop-in centres through singing together in a choir, we also bring children of all ages from different backgrounds together in schools to work with refugee artists and write their own music towards interactive performances involving 300 school children.

StoneFlowers26_Marc-Sethi_-3772-1024x681 — Stone Flowers

Music Action International recently ventured to Sierra Leone. How did that go?

It was amazing!! We were made to feel so welcome and it was such a joy to work with young people living on the street who have been affected by conflict who shared so many creative ideas, who were desparate to have the opportunity to learn and who were incredibly insightful and engaged with writing and performing music collaboratively in all their different tribal languages.

How can music help people who have suffered?

We know that music, when used in a particular way physiologically changes the heartbeat, breathing and stress hormone levels in an incredibly positive way. Heartbeats synchronise when people sing together. Music connects people with themselves and with others. With people who experience trauma, all of these are incredibly important, as well as bringing people out of isolation and bringing back positive memories of the home they have lost.

How does this job affect the professional musicians within Music Action International and their music development?

We are really lucky to have such an amazing group of people who have joined our movement. There is such a great vibe at our performances that people often say it was the highlight of their working year. Having the opportunity to meet and work with people from across the globe, to share ideas, ways of working and philosophies on life is something really compelling and life-changing for everyone involved.

“Our main aim is to get the message of people we work with who don’t have a voice to more and more people.”

What are some of the favorite protest/socially conscious musicians, current or old, at the office of Music Action International?

We’ve just had a really interesting discussion in the office, so thank you for the question!! We of course love Sly and the Family Stone who wrote the song “Everyday People” as they were the first the first major multi-racial, mixed-gender band in rock history. Bob Marley was also a key peace activist. As well as the lead figures or musicians who represent protest movements or social causes, we love scenes and spaces that build movements that encourage activism and movements of positive change.

What is on the horizon for the charity and for the music groups within?

We are expanding our programmes in the UK to connect with and support more people affected by war & torture in schools, drop-in centres and with torture survivors. We are also going back to Sierra Leone and are developing programmes with local organisations in Bosnia and Hercegovina. Our main aim is to get the message of people we work with who don’t have a voice to more and more people.

How can musicians help and work with Music Action International?

We need more people from around the world passionate about what we do to join our movement and share the music and stories from people affected by war, torture and armed conflict who don’t always have a voice. You can sign up to our newsletter here, or connect with us on Twitter, Facebook and Instagram.

Thank you very much for participating and for helping to create music! Anything else you would like to shout from the rooftops?

Thank you too!! We are shouting no words from the rooftops, just some sounds for ya!!!