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 Afropop 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.

𝗜𝗳 𝘆𝗼𝘂 𝗹𝗶𝗸𝗲 𝗼𝘂𝗿 𝗶𝗻𝘁𝗲𝗿𝘃𝗶𝗲𝘄𝘀 𝗮𝗻𝗱 𝗰𝗼𝗻𝘁𝗲𝗻𝘁 𝘄𝗲 𝘄𝗼𝘂𝗹𝗱 𝗹𝗼𝘃𝗲 𝗳𝗼𝗿 𝘆𝗼𝘂 𝘁𝗼 𝗽𝗮𝗿𝘁𝗶𝗰𝗶𝗽𝗮𝘁𝗲 𝗶𝗻 𝗴𝗿𝗼𝘄𝗶𝗻𝗴 𝘁𝗵𝗲 𝗦𝗵𝗼𝘂𝘁𝘀 𝗽𝗿𝗼𝗷𝗲𝗰𝘁 𝗯𝘆 𝘀𝘂𝗽𝗽𝗼𝗿𝘁𝗶𝗻𝗴 𝘂𝘀 𝗼𝗻 𝗣𝗮𝘁𝗿𝗲𝗼𝗻! 𝗪𝗲 𝗮𝗹𝘀𝗼 𝗲𝗻𝗰𝗼𝘂𝗿𝗮𝗴𝗲 𝘆𝗼𝘂 𝘁𝗼 𝘀𝗵𝗮𝗿𝗲 𝘁𝗵𝗲 𝗮𝗿𝘁𝗶𝗰𝗹𝗲𝘀 𝗼𝗻 𝘀𝗼𝗰𝗶𝗮𝗹 𝗺𝗲𝗱𝗶𝗮, 𝗯𝗲𝗰𝗮𝘂𝘀𝗲 𝗶𝗻 𝘁𝗵𝗮𝘁 𝘄𝗮𝘆 𝘆𝗼𝘂 𝗵𝗲𝗹𝗽 𝘀𝗽𝗿𝗲𝗮𝗱𝗶𝗻𝗴 𝘁𝗵𝗲 𝗺𝘂𝘀𝗶𝗰 𝗮𝗻𝗱 𝗺𝗲𝘀𝘀𝗮𝗴𝗲 𝗼𝗳 𝘁𝗵𝗲 𝗮𝗿𝘁𝗶𝘀𝘁𝘀. 𝗧𝗵𝗮𝗻𝗸 𝘆𝗼𝘂!