Félix Wazekwa

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Félix Nlandu Wazekwa was born on 14 September 1962 in Léopoldville (now Kinshasa), then part of the Belgian Congo (later the Republic of the Congo, then Zaïre, and now the Democratic Republic of the Congo),^[31] to Félix Wazekwa Ndomingiedi, a trained architect, and Marie Luvuma. His father held various positions, including at the Ministry of Public Works and Land Planning, the World Bank, and the Office of Roads.^[32] He was also engaged in business activities, served as a member of the Confederation of Small and Medium Enterprises of Congo (Confédération des Petites et Moyennes Entreprises du Congo, COPEMECO), and coordinated the "Construction and Buildings" group in Kinshasa.^[32] Wazekwa was drawn to music at a young age and formed a troupe of local children in the 1970s.^[33] During this time, Wazekwa gained recognition for his prowess in dancing. He subsequently founded a traditional music band known as SODEPA in the Matete commune, where he became known for singing and dancing.^[33] Between 1982 and 1983, Wazekwa formed another band named Kin-Verso in Matete.^[33][34][35]

After graduating from high school with a French baccalaureate from the Académie des Beaux-Arts in Kinshasa, Wazekwa pursued economics studies at Paris 8 University Vincennes-Saint-Denis in 1985.^[34] Thereafter, he became an autodidact and augmented his knowledge through reading, which gave him an interest in literary polymaths like Henry Nelson and Paul Valéry, alongside contemporary writers like Jean d'Ormesson and Michel Serres.^[36][37] After completing his studies, he returned to Kinshasa and began working as a songwriter for various up-and-coming Zairean artists. He quickly garnered attention from Koffi Olomidé, who incorporated Wazekwa's compositions into his projects between 1991 and 1993, notably featured in albums such as Haut De Gamme - Koweit, Rive Gauche, and Noblesse Oblige.^{[35][38][33][39]}

After a brief stint with Koffi Olomide, Papa Wemba approached Wazekwa to assist him in refining his songwriting abilities.^[34] In 1994, Wazekwa contributed four tracks to Papa Wemba's Viva La Musica's album Foridoles, with "Reference" standing out as the signature track.^[34][35] Wazekwa also claimed authorship of the song "Nzete Ya Séquoia."^[40] Following this, he participated in Papa Wemba's 1995 release, Pôle Position.^[34][35][41]

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While simultaneously involved in producing Papa Wemba's album Pôle Position, Wazekwa was exhorted by Papa Wemba to pursue a solo musical career.^{[42][38][34][35]} That same year, Wazekwa commenced work on his 10-track debut studio album, Tétragramme, with support of Papa Wemba and Madilu System.^[38][34][37] In an interview with Afropop Worldwide, Wazekwa revealed that during Tétragramme's production, he was active as a gospel singer.^[43] Released in December 1995, Tétragramme, a blend of Congolese rumba and soukous, was produced under the French label Sun Records and arranged by Wazekwa and Didier Milla, featuring vocal performances by Luciana Demingongo, Madilu System, Nyboma Mwan'dido, Papa Wemba, Shimita, and Yakini Kiese, with backing vocals by Abby Surya, Patricia Aubou, and Valérie Colau.^[34][44][45] Rhythm guitars were played by Caien Madoka, Lokassa Ya Mbongo, and Maïka Munan, bass guitars by Guy Nsangué, Ngouma Lokito, drums by Djudjuchet Luvengoka, percussions by Mavungu Malanda, and animated vocals by atalakus Awilo Longomba, Colombani Wa Senga, and Yakini Kiese. Tétragramme was met with widespread critical acclaim, leading to Wazekwa being honored with the Best Revelation of the Year from ACMCO (Association des Chroniqueurs de Musique du Congo).^[46][37]

In 1997, during the production of his second studio album Pauvres, Mais... (Poor, but...), Wazekwa formed the band Cultur'A Pays-Vie, which featured emerging talents such as Vicky Nasdaq and José Nzita.^[11][31] The album, which contained ten tracks, was recorded at Studio Macadam and released the same year. It was produced by Wazekwa, Claude Liongo, and Serge Masengo through the French label Rythmo-Disc.^[47][48] The arrangements were handled by Sec Bidens, with both Wazekwa and Bidens contributing to the acoustic guitar work. The album featured prominent vocal performances by Wazekwa, Bozi Boziana, Luciana Demingongo, and Tabu Ley Rochereau, with backing vocals from Awa Maïga, Bitou Kikinda, Luciana Demingongo, Nyboma, Raphaël Makondika, Shimita, Solo Sita, Valérie Belinga, and Wuta Mayi.^[47][48] Percussion was managed by Deba Sungu, while Philippe Guez took charge of programming. Animated vocal contributions came from atalakus Papy Tshimanga and Prince Moba.^[47][48] The album's thematic content, which explored love and socioeconomic issues, received widespread acclaim. Notably, the track "Biléi Ya Mobóla" used metaphorical language to address themes of love and the hardships faced by economically marginalized individuals, while the eponymous single criticized the societal disregard for the poor.^[46]

Wazekwa's third studio album, Bonjour Monsieur, was released on 10 November 1998, featuring ten tracks.^[33][49] Produced by Cameroonian producer Jean-Pierre Saah and executive produced by Elvis Kemayo, the album was recorded at Studio Marcadet.^[31][50][49] Wazekwa took the lead on vocals, supported by backing vocalists Abby Surya, Balou Canta, Luciana Demingongo, and Monglisha Kivuna.^[33][31][50] Instrumental contributions included congas by Ikonola Isibangi, drums by Komba Bellow, and audio mixing by Ambroise Voundi, while Thierry Galion handled programming. Nono Manzanza appeared as an atalaku.^[33][31][50] Bonjour Monsieur played a pivotal role in elevating Wazekwa's career, coinciding with the rise of ndombolo music. Wazekwa, embracing the ndombolo era, incorporated choreography and dance into his performances, which became a distinguishing feature of his work.^[11] The album's success was bolstered by airplay on pan-African radio stations such as Africa N°1, which contributed to Cultur'A Pays Vie's growing popularity across West and Central Africa.^[11] This period also marked the involvement of Joss Diena, whom Wazekwa regarded as a potential successor.^[11]

In December 1999, Wazekwa released Sponsor, a ten-track album recorded at Meko Studio in Kinshasa and Marcadet Studio in Paris.^[33][31][51] The album featured contributions from Cultur'A Pays Vie's European members, including Deesse, Luciana, and Djanana. The success of Sponsor marked a significant milestone for the band, as it garnered attention within the Congolese music scene and led to performances in Africa and Europe.^[11][43] The album's success was further propelled by sponsorship from the Congolese brewing company Bralima, which supported promotional efforts.^[43]

Wazekwa's fifth studio album, Signature, was released in mid-June 2001.^[33][52] Prior to its release, Wazekwa participated in the Union des Musiciens du Congo convocation at the Vévé-Center in Kinshasa, where a patriotic song was conceived.^[53] The album, recorded in Paris at Marcadet Studio, featured twelve tracks and was distributed by JPS Production.^[33][52][54] Signature introduced the dance craze "King-Kong" and "Ekiti Talo", and showcased the Male Mambwa dance, created by Lady Nzongo Esobe and animated by atalakus Papy Louange and Gesac Tshipoyi.^[54][11][32] Addressing accusations that Signature imitated Koffi Olomide's musical style, Wazekwa rejected the notion, asserting, "Copying someone is not my style; one must always be original".^[32] To promote the album, Wazekwa and Cultur'A Pays-Vie held a sold-out performance at the Cinemax in Kinshasa. The turnout was so overwhelming that many fans remained outside the venue, with, as Le Phare described, "sound pouring from this amphitheater".^[54] The success of Signature earned Wazekwa two consecutive CHADA awards for Best Artist and Best Group,^[33] along with three ACMCO awards for Best Composer, Best Artist, and Best Orchestra.^[55][56][33]

That year, tensions arose between rival Congolese musical camps when, in July, two members of Koffi's band Quartier Latin International, atalaku J. Kanka "CNN" and singer "Mamale", were barred from participating in Koffi's major concert at the Zénith de Paris on 14 July.^[57] Following their exclusion, the pair attempted to join Cultur'A Pays-Vie but received a lukewarm reception, as the band reportedly considered its lineup complete and hesitated to integrate members from a rival band.^[57] According to Le Phare, Wazekwa was wary of being drawn into a public feud with Koffi.^[57] Nevertheless, he later integrated Quartier Latin International's members Eric Tutsi and CNN into Cultur'A Pays-Vie.^[58][59] Around this period, he also faced a damaging rumor in Kinshasa's Matete commune, alleging that he had sacrificed a band member named Boss to gain fame. Denouncing the story as the fabrication of envious rivals, Wazekwa remarked, "Stones are only thrown at ripe fruit".^[32] While confirming he knew the people behind the rumor, he declined to identify them, emphasizing instead the emotional impact of Boss's death, describing him as "a boy I loved dearly".^[32]

In September 2001, Wazekwa began working on his sixth studio album, Yo Nani?.^[60] According to Le Phare, the album focused on existential and societal themes and was already in development with ten tracks underway, including "La ceinture avancée" ("The Advanced Belt"), "Le corps humain" ("The Human Body"), and "Parfum de la femme" ("The Scent of a Woman").^[60] Rehearsals took place at the Sodima esplanade in Matete.^[60] That same month, Wazekwa was nominated for Best Male Artist of Central Africa at the 2001 Kora Awards.^[61] In May 2002, he toured Paris with Cultur'A Pays-Vie in preparation for the album and secured a production deal for a concert at LSC in Paris scheduled for 20 July.^[62][63] He later returned to Kinshasa to finalize Yo Nani?'s production.^[62] Yo Nani? was released on 12 November and produced by JPS Production.^[31][33][63] Reviewing for Le Phare, Mavambu Leya Guyo, noted that the album marked a stylistic departure from Wazekwa's signature guitar-driven sound, leaning more heavily into philosophical and societal commentary, particularly through the hit track "Complexe".^[62][33] According to Jean-Pierre Nkutu of Le Phare, the song, rich in aphorisms and poetic devices, offers a dramatized portrayal of a boastful and secretive man who manipulates facts to assert dominance and instill fear.^[64] The lyrics also include biting commentary believed to be directed at a fellow artist in the Congolese music industry, with lines such as, "We were speaking Lingala and now you've switched to French. Music is our mother, but you want to marry her".^[64] Satire was employed to target vanity, pretension, and arrogance among his peers, while the arrangement maintained ndombolo through contributions from guitarists Mascot Vakala and Depolka, drummer Aimedi, and vocalists Vava Son and Vicky.^[64]

During this period, Wazekwa publicly confirmed the existence of a long-standing personal and professional rift with Koffi, though he withheld details of its origins. He cited recent provocations, including an attempted Quartier Latin concert in Matete, his home base, that was ultimately canceled following local resistance.^[65] Shortly after, the owner of the Somida Bar, formerly Cultur'A Pays-Vie's headquarters, asked him to vacate the premises. These incidents were widely seen as deliberate provocations, allegedly orchestrated by Koffi's camp.^[65] Local accounts traced the rivalry to Wazekwa's earlier years, when he was a peripheral figure in Congolese music and allegedly humiliated by established stars such as Koffi.^[65] The feud intensified after Koffi's December 2001 album Effrakata, which many interpreted as containing veiled jabs at Wazekwa. By this point, Wazekwa was increasingly asserting his position within the industry, addressing the rivalry openly and using it to reinforce his artistic standing.^[65]

On 25 August 2004, Wazekwa published his seventh studio album, Et Après....^[33][66] The album was co-produced in both Africa and Europe by Cameroonian arranger-producer Edgar Yonkeu and Kiki Productions, owned by Franco-Guinean producer Kiki Touré.^{[33][67][68][69]} Et Après... attained notable success, particularly with the hit dance track "Sautez Déjà", and the accompanying dance trend known as "nzoto ya mama elengi", meaning "the woman's body is welcoming."^[33][67][31] The album's success earned Wazekwa the Best Central African Male at the Kora Awards in South Africa.^[33][70]

In December 2005, Wazekwa issued his eighth studio album, Faux Mutu Moko Boye, often abbreviated FMMB, through Kiki Productions.^[71][43] Wazekwa recorded Faux Mutu Moko Boye in Paris with Cultur'A Pays-Vie.^[43] The album was highly successful and widely praised by the Kinshasa audience, with Wazekwa selling out performances.^[71][43]

In February 2006, Wazekwa made his debut American tour with shows in Massachusetts, New Jersey, and New York, including a notable appearance at Harvard University during a symposium on Congolese culture.^[43] Towards the year's end, Wazekwa issued a six-track maxi-single titled Mosapi Liboso as part of his endorsement with Bralima.^[71] However, in 2007, Cultur'A Pays-Vie experienced consecutive departures of several key members who joined the Quartier Latin International led by Wazekwa's former collaborator and rival, Koffi Olomidé.^[71][72] This feud resulted in a media ban, with Wazekwa and Koffi being barred from appearing on Congolese TV, radio, and print outlets, as reported by La Prospérité.^[72] The provincial authorities imposed the suspension as a period of reflection for the music scene. The dispute also turned violent, including an assault on Hono Kapanga, the former artistic director and soloist of Cultur'A Pays-Vie, who had defected to Quartier Latin.^[72][73] The social unrest caused by the rivalry was commented upon by Jordache Diala of La Prospérité, who observed that the public feuds between the artists had contributed to the degradation of Congolese music, turning it into a platform for insults and polemics rather than artistic expression.^[72] In January 2008, Wazekwa recruited new backing vocalists and unveiled his ninth studio album, Que Demande Le Peuple?, under his Foundation Wazekwa label. The album marked the debut of Cultur'A Pays-Vie's new phase, post-internal restructuring.^[74][75][71] The following year, Wazekwa staged significant performances at the Olympia Hall in Paris and the Zénith de Lille.^[71]

After concluding his European tour, Wazekwa commenced work with Cultur'A Pays Vie on 13 October on the forthcoming three-track maxi-single La Chèvre de Monsieur Séguin, translated as "The Goat of Mr. Seguin", at ICA Studio of the RTNC's Institut Congolais de l'Audiovisuel et du Multimédia.^[75][76] The maxi-single was released in December under Foundation Wazekwa and supported by singles "La Chèvre de Monsieur Séguin", "Alex Mfumu Nsi", and "Dhedhe Mupasa Mot De Passe".^[74][75] Following La Chèvre de Monsieur Séguin's release, Wazekwa maximized promotional efforts by granting interviews to the French radio station RFI (Radio France Internationale).^[77]

In an interview with Nico Kalambay of Radio Okapi on 8 June 2009, Wazekwa announced that his tenth studio album, Mémoire ya Nzambe, was nearing completion.^[78] He went to Paris to finalize its production, and the album was eventually released on 15 July 2010.^[78][79] Produced by Kiki Touré through Kiki Productions, the album included 13 tracks and featured Simaro Lutumba on the eponymous track.^[80][81][82] Mémoire ya Nzambe subtly taunts his former musicians who left Cultur'A Pays Vie.^[80][71] He promoted Mémoire ya Nzambe with a performance at Zénith de Paris on 9 October.^[83]

In 2011, Wazekwa released his 10-track maxi-single titled Haut Les Mains! on compact disc and Digital Video Disc.^[71][84][85] However, following its debut, Haut Les Mains! was pirated and broadcast clandestinely at Place de la Victoire, one of Kinshasa's primary venues, without facing any consequences.^[84]

In May 2012, during an interview with Radio Okapi, Wazekwa announced his forthcoming eleventh studio album, Adamu Na Eva (Adam and Eve).^[15] He also told the press that the choice of the album's name stemmed from a desire to affirm the uniqueness of the human race despite variances in complexion, ethnicity, and dialect. Wazekwa further disclosed he was collaborating on the record with fellow Congolese rhythm guitarist Simaro Lutumba.^[15] By July 2013, Wazekwa proclaimed that Adamu Na Eva was in its conclusive phases of production, having completed the visual accompaniments, and was in pursuit of reputable distribution entities both domestically in Kinshasa and internationally to avoid falling into the hands of corrupt producers.^[16] While awaiting an ideal distributor, Wazekwa and Cultur'A Pays continued rehearsals within the Ngiri-Ngiri commune.^[16] Adamu Na Eva was officially launched on 19 September 2013, comprising ten tracks.^[17] Wazekwa subsequently supported Adamu Na Eva with a live performance alongside Cultur'A Pays Vie at the Pullman Kinshasa Grand Hôtel on 30 November, followed by a concert in Kongo Central Province at the Ledya Hotel in Matadi. He later performed in Brazzaville with Cultur'A Pays Vie at the Ledger Plaza Maya Maya hotel, and later returned to Kinshasa for a performance at the Venus Hotel in Gombe.^[86]

Wazekwa began recording his 13-track twelfth studio album, I Love You, in early 2014 in Kinshasa.^[18][19] During this time, he performed at the Marché de la Liberté in Kinshasa on 13 June 2014^[18] and at the Bralima-sponsored Primus Fete de la Musique at the Théâtre de Verdure in the Ngaliema commune.^[87] On 20 December, he released the album's lead single "Bouffez-Moi Tout Ça" in the Paris market.^[20] I Love You was officially released on 3 January 2015.^[20] He subsequently presented I Love You with a performance at the Foire Internationale de Kinshasa on 4 January.^[20]

On 5 September 2015, Wazekwa issued the ndombolo-infused single "Fimbu".^[21] The term fimbu in Lingala denotes a type of whip, historically emblematic of Belgian colonial subjugation in the expansive Central African subregion, and persists in contemporary use despite prohibitions on corporal punishment.^[88] In the context of the song, however, it references its accompanying festive dance, the "fimbu chicotte", which playfully imitates whipping an opponent as a cheerful celebration after scoring. In an interview with Radio Okapi, Wazekwa explained that "Fimbu" was a call against impunity and violence toward women, and claimed that it's a plea for the eradication of impunity and that offenders "deserve to be reprimanded... the dance movements resembled correcting a person with a sprain... this concept could also apply to football".^[89][21][90] The song quickly caught on, especially among fans of the Congolese national football team, Les Léopards, leading to Wazekwa's invitation to perform at Luanda's Cinema Atlântico on 10 October.^[91] The "fimbu chicotte" dance gained widespread acclaim across Africa in the lead-up to the 2016 African Nations Championship^[92] and later became a sleeper hit during the 2017 Africa Cup of Nations, when Les Léopards used it to celebrate each goal.^{[24][23][25][26]} The dance also propelled Wazekwa to fame across Europe, notably among the continent's diaspora in Belgium and France.^[1][93]

On 1 April 2017, Wazekwa released the audio for "Debout Africains", a remixed version of "Fimbu" with an educational theme promoting African unity. The song incorporates elements of the Congolese national anthem and includes lyrics in English, Swahili, and French.^[94] On 16 December, Wazekwa premiered the single "Papa Wemba - Le Prince de la Rumba", as a tribute to Papa Wemba.^[95] This was succeeded by "Icône d'Afrique", a tribute to Simaro Lutumba.^[96] On 15 June 2019, he dropped "La Chicotte des Léopards" for the 2019 Africa Cup of Nations to support Les Léopards.^[97][98] Described by Congolese digital media outlet Mbote.cd as a "danceable theme", the song's music video featured Wazekwa and several individuals dancing the fimbu dance around the pool.^[97]

In December 2019, Wazekwa released his thirteenth studio double album titled Article 23, which included guest appearances by Barbara Kanam and Héritier Watanabe. Produced by his record label Foundation Wazekwa, it consisted of 24 tracks.^[71][99] On 14 December, he premiered the album's eponymous ndombolo-infused lead single, which emulated Charlie Chaplin's Tramp character with shouts, notably "Charlie Chaplin Charlot!" and accompanied by a dance where the entire Cultur'A Pays-Vie imitated Chaplin's on-screen persona.^[100]

On 24 December 2020, Wazekwa released the lyric video for his English-inflected single "It's My Call".^[101] He followed up with "Miliki", a song in which Wazekwa extols his partner, likening her to the cherished milk of his childhood.^[102] On 14 July 2021, he debuted "Kilelo", a cover compilation of the most successful songs of notable Congolese musicians, including JB Mpiana, Werrason and Jossart N'Yoka Longo.^[103][104] On 17 March 2022, Wazekwa released the single "Leopards Fimbu International" in support of Les Léopards during the play-off phase for the 2022 FIFA World Cup African qualifiers.^[105][106] The track featured guest appearances by Flaety W. Manuke, Lokua Kanza, Kadiyoyo, JB Mpiana, Barbara Kanam, Koffi Olomide, Cindy Le Cœur, Héritier Watanabe, Laetitia Lokua, Adolphe Dominguez, Werrason, Lemiran LEM, Kristy Diamond, Ferré Gola, and Innoss'B.^[107]

Wazekwa participated in the sixth anniversary of Papa Wemba's passing alongside his family, A'Salfo, Reddy Amisi, Cathérine Kathungu Furaha, and Viva la Musica.^[108] On 25 June, Wazekwa published the single "Épaisseur",^[109] followed by "Entrepreneuriat" featuring Jossart N'Yoka Longo, which urges Congolese people to engage in entrepreneurial activities.^[110] On 3 February 2023, he collaborated with his erstwhile rival Koffi on the Congolese rumba-infused single "Eau Pure", a year after their reconciliation ended years of conflict that had characterized the Congolese music scene.^[111] He then appeared with Cindy Le Coeur on stage alongside Koffi during her concert at Millionaire Club in Kinshasa.^[112]

On 12 July, Wazekwa premiered "Tik Tok", featuring a guest appearance by Fabregas Le Métis Noir.^[113] He subsequently performed at Stade des Martyrs with Fabregas Le Métis Noir, becoming one of the few Congolese artists to grace the stage at the venue.^{[114][115][116]} On 30 September, Wazekwa performed alongside Ferré Gola, JB Mpiana, Werrason, Héritier Watanabe, and Fabregas Le Métis Noir at Stade Tata Raphaël during the "Célébrons le Héros" mega musical event, which expressed gratitude to President Félix Tshisekedi for the successful organization of the 2023 Jeux de la Francophonie held in Kinshasa.^[117]