Papa Wemba collapsed and died on stage while doing what he loved most: music. A craft he had dedicated five decades to since his debut with Zaiko Langa Langa in 1969.

Popularly known as Le Kuru, Papa Wemba was one of the greatest talents from the Democratic Republic of Congo (DRC), a land often regarded as the home of musical gods. His career was defined by three key elements: his unique voice, his ability to fuse genres, and his deep influence in fashion through La Sape, a movement in the DRC known for its flamboyant elegance.

Perhaps nothing captured the magnitude of his loss more than the symbolic arrival of a Congo Airways plane named after Patrice Lumumba, the nation’s independence hero, carrying his remains to Ndjili Airport on April 28, 2016. It wasn't just his passing that shook the world, but the way it was broadcasted—his final moments caught on video and circulated widely on social media. His death was mourned in a manner reminiscent of Cameroonian footballer Marc-Vivien Foé, who also collapsed and died on the field while representing his country.

Papa Wemba, one of the greatest names in Congolese music, passed away on April 24, 2016, after collapsing while performing at the Urban Music Festival Anoumabo in Abidjan.

Born Shungu Wembadio, Papa Wemba’s musical journey began in the early 1960s as a pre-teen, singing in his local Catholic church. In 1970, he joined Zaiko Langa Langa, where he started adopting various stage names. For his love of rock music, he took on the moniker Presley Jules, incorporating rock elements into Congolese rumba, creating a unique blend known as rock-rumba.

Zaiko Langa Langa, a name derived from 'Zaire' and 'Bankoko' (meaning "Zaire of our ancestors"), was formed in 1969 by André Bita, Barcelona Delp, and Henri Mongombe. Papa Wemba joined in 1970 alongside Manuaku Waku and Josart Nyoka Longo, quickly becoming one of the band’s most renowned composers and singers. Some of his iconic compositions included "Liwa Ya Somo" and "Pauline."

Zaiko Langa Langa has been accused by pundits of being responsible for the decline of the horn section in Congolese rumba. They introduced a new style that emphasized stage performances, moving away from the Cavacha craze of the 1970s, which was midwifed at Maison Vévé by Verckys. The seben of cavacha was comprised of a cocktail of ingredients, among them the horn section, while that of Zaiko was purely guitar, with the magical fingers of Manuaku Waku on the fretboard.

However, his time with Zaiko was short-lived. In 1973, he left with several members to form Isifi Lokole, a splinter group. His father’s passing had pushed him to take on family responsibilities, fueling his drive to succeed. A year later, Isifi Lokole transformed into Yoka Lokole. But like its predecessor, it was short-lived. After three years, Papa Wemba founded his own band, Viva La Musica, which became one of the most influential groups of its time.

This band nurtured talents such as Koffi Olomide, who would go on to become one of Africa’s biggest music stars. Another big name who used Viva La Musica as a springboard to musical glory is Awillo Longomba, easily the most celebrated Congolese drummer. Awillo would later star with Loketo and also play congas. Others were Kester Emeneya and Redy Amisi.

In 1982, there was a mass defection from Viva La Musica. King Kester, Debaba, and Joli Mubiala quit to create Victoria Eleison, while a second faction of defectors, including Djuna Djunana, created Langa Langa Stars.

To remain afloat after this setback, Papa Wemba recruited a new set of musicians, mostly little known, from Kinshasa. Among them were young talents Redy Amisi and Stino Mubi. The new recruits were well-prepared for Wemba’s successful tour of Japan.

It is Wemba’s journey to Japan that set in motion an interest in Congolese rumba that would later culminate in the creation of a Japanese band, comprising Daikuke Loketo, Rio Nakagawa, and others, a band that specialized in performing Congolese rumba and singing in Lingala.

The creation of Viva La Musica gave Wemba the creative freedom to experiment musically. In 1979, he relocated to Paris, expanding his influence. At one point, he split the band into two factions—one preserving the traditional Congolese rumba for audiences back home and the other adopting Western styles for the European market.

Around the same time, Papa Wemba became deeply involved in fashion. His concerts were not just musical performances but grand fashion showcases. His Matonge home became the headquarters of the fashion movement he championed, known as the Village Molokai. This movement later evolved into the Société des Ambianceurs et des Personnes d‘Élégance (SAPE), a fashion-conscious group dedicated to flamboyant elegance, with Wemba as its first leader.

Despite his fame, Wemba faced legal troubles. He was arrested twice in Brussels and Paris, accused of smuggling Congolese nationals into Europe under the guise of being band members. However, he was fined and released without serving a custodial sentence.

Apart from his engagements with Viva La Musica, Papa Wemba also sang with a group of young men in a band called Bana Malongi. He auditioned them, and those who proved themselves were adopted into this band.

Papa Wemba won several awards, including a Kora Award in 1996. His discography boasts over 40 albums, and he was posthumously honored with the highest Congolese music award. His voice—arguably one of the finest tenors in Congolese rumba—remains an unforgettable treasure. He is survived by his wife and six children, leaving behind a legacy that will resonate for many generations to come.

By Jerome Ogola

Jabulani Radio

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