A song released in 1998 by a Congolese drummer-turned-singer is still one of the most requested at West African weddings.
“Coupé Bibamba”, by Awilo Longomba, is a fast, joyful soukous track built on bright guitars, driving drums and dance instructions. It became a hit across Africa and the diaspora in the late 1990s, and it never really left the playlist. Mention it to a Ghanaian or Nigerian of a certain age, and they will probably start dancing.
Awilo
Awilo Longomba grew up in a musical family in Kinshasa; his father, Vicky Longomba, was a singer and one of the founding members of OK Jazz, the band Franco later led as TPOK Jazz. Awilo started as a drummer, playing with bands including Viva La Musica and Stukas, before launching his solo career in the 1990s, largely from Paris.
Soukous
Soukous grew from Congolese rumba into a faster, dance-driven style, with sparkling guitar lines and energetic sebene sections, where the band speeds up and the dancers take over. Paris became a major centre for soukous in the 1980s and 1990s, with Congolese musicians recording there for audiences across Africa.
Awilo’s music, built for dancing, helped make soukous one of the dominant party sounds of the 1990s.
The dance
“Coupé Bibamba” came with its own moves, and dancers across Africa learned them from the music video. The song’s energy made it a favourite at parties, school events, weddings and even funerals, where upbeat music is part of celebrating a life.
Why it lasts
Many party songs fade after a few years. “Coupé Bibamba” has lasted because it works across generations: older guests remember it from its release, and younger ones learned it from family gatherings. DJs use it to fill dance floors with guests of all ages.
Awilo has kept performing it at concerts and events across Africa, and he has collaborated with younger artists who grew up on his music.
Congolese music’s reach
The song is part of the long influence of Congolese music across Africa. From Franco’s rumba to soukous to modern ndombolo, Congolese musicians shaped the dance music of the continent for decades, and their influence is heard in highlife, Afrobeats and East African pop.
At weddings
Wedding DJs in Ghana and Nigeria often play it when the reception needs a lift, usually after the formal programme ends. It is one of the songs that brings aunties, uncles and children onto the same dance floor.
It came out in 1998. At a wedding reception somewhere in West Africa this weekend, someone will still ask the DJ to play it.
