Soukous is a type of dance music that began in the Democratic Republic of the Congo (formerly called Zaire) and the Republic of the Congo (formerly called French Congo). It developed from Congolese rumba in the 1960s, featuring faster rhythms and complex guitar playing. It became popular in France during the 1980s. While some people use the word "soukous" to describe Congolese rumba, the music and dance of soukous are different from traditional rumba, especially in its faster speed, song structure, and longer dance sequences.

Soukous combines traditional Congolese rhythms with modern instruments. It often uses electric guitars, double bass, congas, clips, and brass or woodwind instruments. The lyrics of soukous songs often talk about love, social issues, romantic stories, philosophical ideas, and everyday challenges and achievements. Singers may perform in Lingala, Kikongo, French, or Swahili. Bands usually include one main singer supported by several backup singers.

Characteristics

The music usually uses an 8-time signature and major chords played in a way that separates the notes. Soukous lead guitarists are known for their speed, accuracy, and quick finger movements, often playing high notes on the guitar. The bassline, inspired by hand-drum patterns, forms the rhythm of the genre and is typically played with a pattern of 16th notes. It became popular during the time of Mobutu Sese Seko in Zaire. The strong bass style of soukous mimicked the strict movements of military marches. This style involves switching between low and high notes, achieved by using the thumb and index finger to pluck the strings.

Tonally, soukous depends on certain settings in the bass, midrange, and treble frequencies. The bass is usually boosted by +3 dB to create deep, rich low sounds that support the rhythm. The midrange, especially around the 700 Hz frequency, is often left unchanged or boosted by up to +6 dB. The treble frequencies are either left unchanged or reduced slightly by -3 dB.

In Matonge, the rhythm guitar goes with songs that have a medium speed. The bass and drums highlight the main beats, while guitarists play the beats in between (one and two and three and four and). During songs, the lead guitarist creates a rhythm that supports harmonized call-and-response singing, made louder with an echo effect, producing a very relaxing sound experience.

The percussion section has a steady, fast beat, most commonly called cavacha. The drummer leads the way when changes happen, signaling the guitarists to follow the lead guitarist’s changes. Soukous chord progressions mostly use the I, IV, and V chords. Common progressions include:

• I – I – IV – IV
• I – IV – V
• I – I – V – V
• I – IV/V
• V/IV – I
• I/IV – IV/I
• I – V – I – V
• V/IV – I

History

The origins of the genre can be traced back to Congolese rumba, which began in the early 1900s. People living in cities in the French and Belgian Congo combined music from different tribes in the Congo region near Pool Malebo.

During World War I, new music and dance styles spread across the Lower Congo (now Kongo Central) and Pool Malebo. Local dances like agbaya and maringa became popular. The circular agbaya dance was later replaced by the partnered maringa dance, which became common in cities like Matadi, Boma, Brazzaville, and Léopoldville (now Kinshasa). Early maringa bands used the likembe for melody, a metal rod struck on a bottle for rhythm, and a small drum called patenge for counter-rhythms. By the 1920s, accordions and guitars gradually replaced the likembe. The hip movements of maringa dancers, shifting their weight between legs, became widely popular. By 1935, partnered dancing spread across the Congo basin, even reaching remote villages. Dance halls appeared in towns and rural areas, while traditional dancing continued in palm huts.

In the early 1940s, Pool Malebo became a connection between Brazzaville and Kinshasa. Cuban music groups like Sexteto Habanero, Trio Matamoros, and Los Guaracheros de Oriente were broadcast on Radio Congo Belge, gaining popularity. Because of Cuban music’s influence, maringa dance music, though unrelated to Cuban rumba, was called "rumba Congolaise" after imported records were mistakenly labeled as "rumba." A professor of ethnomusicology explained that the term "rumba" remained in use due to the recording industry’s interest. Studio owners changed the meaning of "rumba" to describe maringa rhythms while keeping the name. This led to the recognition of "Congolese rumba" or "African rumba." Antoine Wendo Kolosoy became the first star of Congolese rumba, touring Europe and North America with his band Victoria Bakolo Miziki. His 1948 hit "Marie-Louise," co-written with guitarist Henri Bowane, became popular in West Africa. Congolese rumba gained prominence as early pioneers changed how they played their instruments.

The word "soukous" comes from the French verb secouer, meaning "to shake." It originally described someone who moved jerkily but later became a dance style linked to energy and rhythm. The term secousse evolved into soucousses and eventually soucous in everyday language.

In the early 1960s, young Congolese musicians wanted to speed up the slow tempo of Congolese rumba, leading to the creation of soukous. Artists added faster rhythms and prominent guitar improvisation, often using high-pitched, fast-paced lines with African motifs. Drummers shifted to high-energy rhythms, with the clave rhythm moving to the snare drum. Singers used rhythmic chanting (atalaku), and lead guitars became central.

The origins of soukous are debated. Some credit Franco Luambo and TPOK Jazz for pioneering the style, citing his fast-tempo "odemba" approach. Others, like British historian Gary Stewart, say soukous began in Brazzaville, led by guitarist Jacques Kimbembe and the Super Band (later Orchestre Sinza Kotoko). This group introduced soukous to Brazzaville’s nightlife in 1966, replacing the traditional "boucher" style. Congolese journalist Audifax Bemba noted that Orchestre Sinza stood out with conversational singing, expressive lead guitar, and a 4-beat rhythm. Kimbembe’s lead guitar technique used eighth notes instead of quarter notes, adding freestyle dance sections. Stories say the band’s energetic performances made audiences dance even before entering venues.

In the late 1960s, Congolese musicians, like Western artists exploring dances like the twist, created new styles to stay competitive. In 1968, Orchestre Sinza introduced "mossaka" after adding singer Pierre Moutouari, leading to their first Paris tour and a contract with French label Pathé Marconi. Nicolas Kasanda, known as Docteur Nico, created "kiri-kiri," a dance inspired by the Western "jerk." His 1968 song "Kiri-Kiri Mabina Ya Sika" became the style’s anthem. Other artists followed, including Les Bantous de la Capitale, who blended styles like "soukous-kiri-kiri," and Tabu Ley Rochereau, who introduced "jobs," a mix of jerk and rumba. His 1968 song "Martin Luther King," a tribute to the civil rights leader, used a Western drum kit and marked the decline of traditional percussion. This period saw many new styles, such as Jeannot Bombenga’s "mambenga" and Joseph Kabasele’s "yéké yéké," which was called the "eighth phase of the rumba." Docteur Nico later said, "We invent a new dance style every day." Despite this diversity, Congolese rumba remained the genre’s foundation.

During this time, major orchestras included O.K. Jazz, African Fiesta National, African Fiesta Sukisa, and Les Bantous de la Capitale, followed by Négro Succès, Conga Succès, and Cobantou. Nicolas Kasanda, who led African Fiesta Sukisa, saw this as a creative peak. Orchestre Sinza, a second-tier band in Congo-Brazzaville, became the top-selling African act with Pathé Marconi from 1969 to 1974. Their innovations influenced the "third school" of Congolese music, especially Zaïko Langa Langa, which adopted their fast 4-beat tempo and eighth-note guitar techniques in 1974.

Ndombolo

By the late 1990s, musicians like Radja Kula, Wenge Musica, Koffi Olomidé, Général Defao, and Extra Musica changed soukous music into a new style called ndombolo. This style was loud, fast, and made people move their hips while dancing. It became very popular in Africa and among people living in other countries, such as Belgium, France, the UK, Germany, Canada, and the United States. However, by the early 2000s, some people criticized ndombolo, calling it inappropriate. This led to efforts to ban it from state media in the Democratic Republic of the Congo, Cameroon, Senegal, Mali, and Kenya. In February 2005, music videos featuring ndombolo in the Democratic Republic of the Congo were censored for being indecent. As a result, videos by Koffi Olomidé, JB Mpiana, and Werrason were banned from being shown on television. Even after this, ndombolo music continued to sell well, and new songs remained popular in discos, bars, and clubs across Africa.