Robin Denselow 

Kanda Bongo Man review – keeping the party going

No-nonsense, upbeat fare from the veteran Congolese showman, writes Robin Denselow
  
  

Kanda Bongo Man
Relaxed but insistent … Kanda Bongo Man. Photograph: Gary Wolstenholme/Redferns via Getty Images Photograph: Gary Wolstenholme/Redferns via Getty Images

Kanda Bongo Man has always been a stylish figure, and tonight, with his trademark hat and matching jacket he looked, and sounded, as distinctive as ever. With his easy, rolling vocals and upbeat, insistently cheerful and rhythmic songs, he was one of the key figures in the development of Congolese soukous music. “If Kanda Bongo Man doesn’t make you want to dance, call an ambulance,” his followers would say, “you’re dead.”

He played an important role in popularising Congolese music across Africa and Europe, and in the UK in the 80s he appeared at Womad and was championed by John Peel. In an itinerant career, he moved from Kinshasa to Paris and then Manchester, but has now settled in South Africa. The move clearly suits him, and he gave a no-nonsense demonstration of why he is special, backed by a band that was thankfully free of the keyboards that marred some of his recent recordings.

This was one of the events marking the final night of this year’s London African music festival, and Kanda Bongo Man proved that he can still host a good party. He was backed by eight musicians, including two lead guitarists whose injections of rippling, cascading guitar lines and solos into the middle of the songs demonstrated how he had transformed Congolese music.

His voice was relaxed but insistent, and he was helped by backing singers including Nickens Nkoso from the British-based Congolese band Kasaï Masaï. There were no surprises, but the veteran Congolese showman didn’t disappoint.

 

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