Congo Vibes
Music => Congolese Music => Topic started by: Mfumu Vata on May 07, 2023, 15:00
-
https://www.youtube.com/watch?v=p_lqvjcZmxQ
I remember seeing some extracts of it on Bjone's youtube channel
-
I have the DVD to this! Also what happened to the animation Brigade used here? It seems like it was never used in a recording. Very unfortunate Koffi did not use Brigade much after this because he absolutely killed it here!
-
I’ve noticed most Koffi’s concerts in Kinshasa from 1991 to 2005 are quite rare to find. The Europe ones are a lot easier to find if you were to compare them.
-
Besides Stade De Martyrs and GHK concerts it seems like Koffi didn’t perform in Congo that much. Seems like he was always playing abroad. (Just like how Fally has been doing for years now)
-
Kinshasa concerts of Koffi from 1991 to 2000 are rare because Congolese people are not really strong in conserving archives. Most VHS being throw away when the DVD came in and many also throwing them away because of becoming a brother/sister in christ and wanting a new life. You'll notice that Kinshasa concerts of Wenge 4x4, Papa Wemba, JB Mpiana first 2 years with BCBG and those early Maison Mère concerts of that period also being rare. Not only concerts of Kinshasa are but also those of Europe itself. Concerts of period after let say 2000/2001 are not really rare, because producers were making reissue version of it for DVDs.
Koffi was often in Europe and touring abroad in Africa. But when being in Kinshasa he was performing often like other bands Wenge Maison Mère, Wenge BCBG, Nouvelle Ecriture, etc. and having every week public rehearshals at Bar 5 sur 5 Oshwe in Matongé. Back it started a rivalery between him and Papa Wemba. Fans and Wemba himself were not happy the way Koffi put his headquarter in Matonge next to Village Molokai. Koffi then often sending his guys to annoy Wemba fans in Molokai/Matonge which often resulted in fights or his guys being seriouly beaten. There also often confrontation between musicians of Quartier Latin and those of Nouvelle Ecriture when coming with their cars to the rehearshals and shegues watching by. Koffi was first more into vip-concerts and occassionaly public concerts. But when the polemic era started to become hot, he started to give alot of public concerts, especially after Effrakata. Koffi then going to areas like Mikonga, Masina, Malueka, Mpasa and Camp Luka. From 2005 to 2009 it became an obligation because he had a contract with Bracongo. When the beef against Werra started, Koffi's public concerts were often interrupted by gangs who would throw with stones like they were doing with concerts of Bill Clinton Kalonji.
-
Kinshasa concerts of Koffi from 1991 to 2000 are rare because Congolese people are not really strong in conserving archives. Most VHS being throw away when the DVD came in and many also throwing them away because of becoming a brother/sister in christ and wanting a new life. You'll notice that Kinshasa concerts of Wenge 4x4, Papa Wemba, JB Mpiana first 2 years with BCBG and those early Maison Mère concerts of that period also being rare. Not only concerts of Kinshasa are but also those of Europe itself. Concerts of period after let say 2000/2001 are not really rare, because producers were making reissue version of it for DVDs.
Koffi was often in Europe and touring abroad in Africa. But when being in Kinshasa he was performing often like other bands Wenge Maison Mère, Wenge BCBG, Nouvelle Ecriture, etc. and having every week public rehearshals at Bar 5 sur 5 Oshwe in Matongé. Back it started a rivalery between him and Papa Wemba. Fans and Wemba himself were not happy the way Koffi put his headquarter in Matonge next to Village Molokai. Koffi then often sending his guys to annoy Wemba fans in Molokai/Matonge which often resulted in fights or his guys being seriouly beaten. There also often confrontation between musicians of Quartier Latin and those of Nouvelle Ecriture when coming with their cars to the rehearshals and shegues watching by. Koffi was first more into vip-concerts and occassionaly public concerts. But when the polemic era started to become hot, he started to give alot of public concerts, especially after Effrakata. Koffi then going to areas like Mikonga, Masina, Malueka, Mpasa and Camp Luka. From 2005 to 2009 it became an obligation because he had a contract with Bracongo. When the beef against Werra started, Koffi's public concerts were often interrupted by gangs who would throw with stones like they were doing with concerts of Bill Clinton Kalonji.
Besides the 2 zenith concerts from 2003. What other big Europe concerts from 2000-2006 that we are missing from youtube? Wasn't there a third Montmartre concert in late 2006?
-
All Congolese concerts of big bandleaders at took place at Elysee Montmartre from 2006 to the concert-ban are on youtube. From mid 2004 you had that war of those big dvd-producers about buying images of the biggest in events in Paris and Kinshasa. Them all being uploaded on youtube the last 10 years except Werra's concert at Bataclan in 2005 before returning to Kinshasa.
https://www.youtube.com/watch?v=bj4S7y62S-8&t=95s
Koffi just performed twice at Elysee Montmarte in 2006 the following year he performed there on 27 december 2007 without Joss Diena & Gessac. Badive uploaded it on youtube but for whatever reason he closed his channel. Mudjona Dobbs saved the video and re-uploaded but made the mistake by writting that it was at Bataclan.
https://www.youtube.com/watch?v=Z2WBBmHGshE&t=5206s
-
I see! So the only one missing is the 2005 Bataclan concert. This one looks like raw footage? It looks too good to be from a DVD. It's interesting that we almost have everything. I'm sure someone will eventually upload that full concert some day.
Also the only reason why I asked about a 3rd Koffi concert at Elysee Montmarte was because I saw this:https://www.infoconcert.com/ticket/concert-koffiolomide-paris/145598.html
Was it cancelled?
-
Here you can see all of the European concerts that he had in 2006: https://www.infoconcert.com/artiste/koffi-olomide-4996/concerts.html?menu=archives&artiste_id=4996&annee_archives=2006
-
They probably cancelled it. I dont remember articles being written about that event, having seen posters of it or people talking about it. The Europe-tour of 2005/06 was the last where Koffi brought the whole Kinshasa-team. After it started mixing the team with Europe-based musicians. But in the period towards the end of 2006, Europe-based musicians like Champion, Junior and co were helping Fally out in that period for concerts with Maika Munan to promote Droit Chemin. If I remember well Koffi had concerts in Brazzaville in the same period to celebrate Quartier Latin's 20th anniversary. Back then everybody was talking about Fally's show at Dock Eiffel and wondering if there would be still concerts in Europe after a double event of Werra in Paris getting cancelled by combattans in Paris and a concert in Brussels being sabotated by them with them. But Werrason making peace with them and performing at Elysee Montmarte. From Koffi's return to Kinshasa in August 06 to early 2007 most of Koffi's concerts were flopping, the press making use of it to denigrate him and comparing him with Fally. Some concerts of Fally himself weren't also going well but the press making people believe that it was big succes like the way they used to do with Werra & JB in the past.
-
Here you can see all of the European concerts that he had in 2006: https://www.infoconcert.com/artiste/koffi-olomide-4996/concerts.html?menu=archives&artiste_id=4996&annee_archives=2006
It's impressive how Koffi filled Bataclan while they already spend 5 months in Europe and him doing two weeks later the same at Elysée Montmartre. Such concerts are normally often flops unless they are goodbye-concerts. The success of DVD "Kisanola le peigne" that came out during the tour had a big contribution in the succes of it. But at the same time its sad how Congolese music went down at that time from performing at big halls like Bercy and Zenith to small halls like Elysee Montmartre. The African-diaspora press did everything to hype Coupé Décale and barely promoted Congolese music. Although having filled both halls the reviews of both concerts at that time were not good. Many fans complaining that they were missing the fire that used to be in concerts during the early 2000s.
-
It’s sad because those late 06 to early 07 Koffi concerts were still better than most if not all of fallys performances. I mean Koffi still had bouro and co. I think everyone just overreacted prematurely to fallys departure.
But that’s unfortunate that the combatants ruined the concerts around that time but I really think it was just the ngulu affaire that ruined the big hall concerts
-
I think that it was more that Congolese bandleaders already achieved everything. They did Olympia, Palais des Sports, Zenith de Paris & Bercy. The hype/motivation would still be there if artists found a way to do a double Bercy, triple zenith or Parc des Princes. When Werrason announced that he would perform at Stade Charletty in the summer of 2004. It created some fire and people started to get ready about how to promote the event but not long after that the split with Les Marquis came.
I remember Congolese people complaining about despite having done these big halls, that our music was not becoming mainstream. Saying that the succes just within in the African-community (ghetto). Them wanting to see Koffi Olomidé, Werrason, JB Mpiana and co on these white tv-channels and radiochannels, like Magic System started to do. Them also questioning if those gold-records they got being real. Artists like Koffi and JB getting irritated when getting such questions about gold-records from journalists like Francis Kakonde and the comparation with Magic System.
It was the Congolese community that were pushing bandleaders to the top to achieve these challenges to perform at the mythic halls of Paris. The first zenith's, Olympia and Bercy's were promoted months before and the whole Congolese diaspora being mobilized, special t-shirts being made, reunions made in Brussels, London and Paris about how to give the artists a special welcome and how to lure more people to the concert. Influent people like Joel Photo Mbetenge, Shaguy Sharufa and co putting all their energy. Koffi's Bercy for example got promoted for 1 year. But when you compare it to the promotion of the concerts of Papa Wemba & Koffi Olomide did in 2003 at Zenith de Paris, you will see that there was not a big effort from the community to mobilize people and also not big promotion. Some of those who were putting big money in the game started to be dissapointed in bandleaders because of their behaviour and/or that of their musicians who used to live in their house for a time when coming for tours (paying hotels the whole tour is to expensive for Congolese bands) and doing them dirty by sleeping with their wives/daugthers and at some point making them pregnant. Many became combattans few years later. Others started to become brother or sister in christ when getting private problems or being jailed for dark business they were doing in Europe.
Then you had also the press of the African-diaspora who from late 2002/early 2003 starting to write articles about Ndombolo not being inovative, no evolution being and them often critizing the genre. It then coincided with coupe decale coming and the new genre getting big promotion. Ndombolo-music getting less playing in African nightclubs of Paris and when getting played just getting a few minutes. The funny thing is that no of the coupe decale-artist did Zenith, Olympia or Bercy at that time until this day.
Because of the flop of the last zeniths many foreign concert-promoters were not interested anymore to produce Congolese bands at mythic halls. Also being annoyed for the way rivals would call them to cancel x event claiming that artist being "finished", seeing people trying to sabotate the removing posters and calling the police about danger there (just in create a bad sphere). Congolese artists re-starting to have concerts at small halls like LSC again. For someone like Werrason performing at halls like LSC, wasn't his level. The events he did there in december 2004 & march 2005 created a big mess because big crowds being there and the majority not being able to enter. The municipality of Saint Denis at some point forbidden Congolese artists to perform again at LSC. It kind the interest of foreign concertpromoters back to put money on Congolese artists for mythic halls, but they were not sure if they would get profit. It would last few years to see these concerts back at mytical halls. Those concerts came back in 2007 through Dario Kindongo who produced Fally at Olympia, Meganet who produced Koffi the same year at Zenith de Paris and following year Werrason at the same Zenith. With the succes of Werrason with Malewa, that of Fally with his featerings he was doing with different artists and their succesfull tours in 2010, our music started slowly to get back on track and almost re-started dominating coupe decale. But in 2011 sadly the concert-ban came.
-
Oh that makes sense. So it was an accumulation of things that happened over the years. It was like a bubble that finally popped and the genre is still recovering today. That's interesting that it seemed like things were getting better in 2010, then the ban happened. Do you think that's why they did a complete ban because the genre was getting popular again and they wanted to stop that?
-
No it had nothing to do with the genre slowly started to get popular again. It was because of the political situation in Congo mixed with personal issues some people had with artists and seeing it as a gold occassion to punish them with it.
The ban came because many in the Congolese diaspora weren't happy the way artists were close to Joseph Kabila's regime while the situation was getting worser every year in Congo. They were also mad the way bandleaders themselves started to insult and betittle the Congolese diaspora in interviews , while it was the same diaspora who made them who they are today. The setting of Congolese artists living in Kinshasa of 1987 is totally different from that of 2008. Some bandleaders in the 1980s were still living at their familyhouse or renting a small house in normal quarters. It was for a big part due to the big financial support of people living in Europe that they were able to have a much better life. Another reason is that activists wanted to get rid of the label Congolese people had about being distracted only thinking about beer, music, sex and clothes.
The background of the concert-ban were when Congolese music in Europe was on its peak (1998-2003). The same period you had the Congo-war which led to more than 6 millions deaths (mostly in Eastern Congo). But the strange thing is that the majority of Congolese people living in Europe and Kinshasa didn't care about. Most were focused on Werra, JB, Wemba, Koffi, Emeneya, etc. performing at x or y place, releasing an album. Those who were christians only being focused on famous pastors, gospel artists and those VHS with testimonies. Many even didn't knew that there was still a war going on in Congo apart that short moment in 1998 when rebels almost got control over Kinshasa and there no electricity, water being there for a short moment.
When there would be petitions against UN, Belgium, France, UK and USA for making decisions against DR Congo's favour or marches against Rwanda & Uganda. Nobody would show up or sign the petitions. Just a small part of people. Although "peace" coming through the 1+4 governement with the presidential elections, the situation in Congo was still not going well. Combattans felt that it was time for a wake-up call to Congolese people. Seeing that marching and sharing posters to mobilize people wasn't working they made change their strategy by coming with the decision to block concerts and forbid pastors coming from Kinshasa to preach in Europe. Because they felt that artists and pastors were distracted the diaspora and the population living in Kinshasa. By stopping them they knew that there would be more attention to the situation in DR Congo and that many would open their eyes.
Already in 2006, combattans were warning bandleaders that they would block concerts in Europe if Joseph Kabila would pass the elections. The ban then starting in London by UDPS-combattans threatening JB Mpiana and his bandmembers who were touring in UK. In Paris and Brussels it failed because many activits were still close to either Werra, Koffi or other artists. They succeed in blocking Werra's concerts in 2006 but they ending up by negotiating. With the years coming those who were dissapointed about bandleaders being ingrateful towards and/or doing them would join the cause (more out of anger). Every time when Werrason would come for a big event in Paris, they would try to come with a ban. During Zenith 2008, Werrason almost got kidnapped and many stuff happened behind the scene. At that time, the atmosphere was not good because many were not happy because of the war that just re-started in Eastern Congo in the same period because of Laurent Nkunda. In 2010, the combattans again failed to get Werra's event cancelled. In 2011 when Werrason came for a concert at Elysee Montmarte with Papa Wemba they finally succeed. The crowd that demonstrated the same day being bigger than those who came for the concert. Mostly because many didn't want to pay 100 euros for that event (concert-promoter wanted to make a vip-concert of it with the highest concertfee ever in Europe for Congolese concerts).
The thing that made it easier for the combattans to succeed that day was because of many people being mad for the way Werrason insulted the Congolese diaspora in an interview about just doing small jobs (construction work, etc.) and that they are nothing. It was also the same period that alot of bad stuff happened. Armand Tungulu who used to live in Belgium got killed in Kinshasa by Joseph Kabila a few months before (JB Mpiana had to perform that week in Brussels, but he cancelled the show out of respect). You had at that time also the Arab spring (protest/revolution in Tunesia & Egypt) which motivated combattans even more.
Concerts could have returned if Werrason kept a low profile but instead of that he was making an interviews to challenge combattans and that nobody would stop him. This motivated alot of people to show up in Brussels to block his third concert after performing with alot of difficulties in Germany. The combattans felt themselves intouchable and saw it as a game. They then came with the statement that there would no concerts if Joseph Kabila would still be in power. After that they succeed in sabotating Fally's Zenith. Fally then performing in front of 50 people despite high security from the police. It totally marked the end of concerts in the Schengen-area. After that they started also to attack politicians and starting making big protest-marches in Brussels and Paris. Also coming with actions in Apple stores to make people aware about children dying in mines.
-
No it had nothing to do with the genre slowly started to get popular again. It was because of the political situation in Congo mixed with personal issues some people had with artists and seeing it as a gold occassion to punish them with it.
The ban came because many in the Congolese diaspora weren't happy the way artists were close to Joseph Kabila's regime while the situation was getting worser every year in Congo. They were also mad the way bandleaders themselves started to insult and betittle the Congolese diaspora in interviews , while it was the same diaspora who made them who they are today. The setting of Congolese artists living in Kinshasa of 1987 is totally different from that of 2008. Some bandleaders in the 1980s were still living at their familyhouse or renting a small house in normal quarters. It was for a big part due to the big financial support of people living in Europe that they were able to have a much better life. Another reason is that activists wanted to get rid of the label Congolese people had about being distracted only thinking about beer, music, sex and clothes.
The background of the concert-ban were when Congolese music in Europe was on its peak (1998-2003). The same period you had the Congo-war which led to more than 6 millions deaths (mostly in Eastern Congo). But the strange thing is that the majority of Congolese people living in Europe and Kinshasa didn't care about. Most were focused on Werra, JB, Wemba, Koffi, Emeneya, etc. performing at x or y place, releasing an album. Those who were christians only being focused on famous pastors, gospel artists and those VHS with testimonies. Many even didn't knew that there was still a war going on in Congo apart that short moment in 1998 when rebels almost got control over Kinshasa and there no electricity, water being there for a short moment.
When there would be petitions against UN, Belgium, France, UK and USA for making decisions against DR Congo's favour or marches against Rwanda & Uganda. Nobody would show up or sign the petitions. Just a small part of people. Although "peace" coming through the 1+4 governement with the presidential elections, the situation in Congo was still not going well. Combattans felt that it was time for a wake-up call to Congolese people. Seeing that marching and sharing posters to mobilize people wasn't working they made change their strategy by coming with the decision to block concerts and forbid pastors coming from Kinshasa to preach in Europe. Because they felt that artists and pastors were distracted the diaspora and the population living in Kinshasa. By stopping them they knew that there would be more attention to the situation in DR Congo and that many would open their eyes.
Already in 2006, combattans were warning bandleaders that they would block concerts in Europe if Joseph Kabila would pass the elections. The ban then starting in London by UDPS-combattans threatening JB Mpiana and his bandmembers who were touring in UK. In Paris and Brussels it failed because many activits were still close to either Werra, Koffi or other artists. They succeed in blocking Werra's concerts in 2006 but they ending up by negotiating. With the years coming those who were dissapointed about bandleaders being ingrateful towards and/or doing them would join the cause (more out of anger). Every time when Werrason would come for a big event in Paris, they would try to come with a ban. During Zenith 2008, Werrason almost got kidnapped and many stuff happened behind the scene. At that time, the atmosphere was not good becau
se many were not happy because of the war that just re-started in Eastern Congo in the same period because of Laurent Nkunda. In 2010, the combattans again failed to get Werra's event cancelled. In 2011 when Werrason came for a concert at Elysee Montmarte with Papa Wemba they finally succeed. The crowd that demonstrated the same day being bigger than those who came for the concert. Mostly because many didn't want to pay 100 euros for that event (concert-promoter wanted to make a vip-concert of it with the highest concertfee ever in Europe for Congolese concerts).
The thing that made it easier for the combattans to succeed that day was because of many people being mad for the way Werrason insulted the Congolese diaspora in an interview about just doing small jobs (construction work, etc.) and that they are nothing. It was also the same period that alot of bad stuff happened. Armand Tungulu who used to live in Belgium got killed in Kinshasa by Joseph Kabila a few months before (JB Mpiana had to perform that week in Brussels, but he cancelled the show out of respect). You had at that time also the Arab spring (protest/revolution in Tunesia & Egypt) which motivated combattans even more.
Concerts could have returned if Werrason kept a low profile but instead of that he was making an interviews to challenge combattans and that nobody would stop him. This motivated alot of people to show up in Brussels to block his third concert after performing with alot of difficulties in Germany. The combattans felt themselves intouchable and saw it as a game. They then came with the statement that there would no concerts if Joseph Kabila would still be in power. After that they succeed in sabotating Fally's Zenith. Fally then performing in front of 50 people despite high security from the police. It totally marked the end of concerts in the Schengen-area. After that they started also to attack politicians and starting making big protest-marches in Brussels and Paris. Also coming with actions in Apple stores to make people aware about children dying in mines.
What's your opinion on the combatants? Do you think they're justified in stopping concerts? I understand their frustration, bringing awareness to the problems in Congo is important and I do believe the music/pastors have too close of a relationship with Kabila when they should be politically neutral.
What I don't understand is how does blocking concerts change the situation in Congo, because the diaspora in Europe don't have influence in Congolese government. If anything, shouldn't the combatants repatriate to RDC and lead a movement to reform the government in Kinshasa.
I don't understand the long-term strategy, because most people understand the situation in Congo is dire. However, musicians from relationship with politicans out of their own self interest. I don't think Wenge Musica and Koffi actually believe Kabila is a good leader, he pays them for their support. However, we know he cheats the election results which is why he has remained despite doing nothing to improve conditions of life
-
It was good to stop concerts in 2011. But they had to do it for a short-term (for just 1 year) and focus more on politicians and how to be influential in Kinshasa. Because their activism had an uprising in Europe and even those who were not interested in politics were getting interested. Intellectuals who were doing nothing in Europe also became activists and started to write letters to those International Organisations and lobbying for Congo to get more decisions in our favor. But those in Kinshasa were disconnected from it. It's only 6 or 7 years later that people in Kinshasa also started opening their eyes and started to stand up. You will notice that people in Congo are today more focused on politics than music because they want change. On the other side it's also because music isn’t the same anymore like 15 years ago. Even soccer has more success (i am not talking about local soccer) than music in Kinshasa. People are more interested in Real Madrid vs FC Barcelona than following stuff about music. Its only now that Congolese music is slowly returning on the place were it was. There was even a time that foreign music had more succes in Congo itself. The young generation preferring rap and r&b music of Congolese youngsters who were born Europe (Dadju, Kalash, Damso and co) and music from West Africa than music of Heritier, Ferre, Fally, etc.
Blocking concerts doesn’t have any effect in Congo. It only harms the few Congolese artists/bands that are able to get in Europe, who have it already hard. The combattans are cowards and are afraid to fight in Congo. If you ask combattants why they don't return to start a movement there, they will insult you and say that they don't want to die like those in Kinshasa. It doesn’t make sense because when doing such things you have to sacrifice yourself. They made business from the concert-ban. Most who put a lot of energy in blocking concerts are those who have personal problems with musicians and those who failed in their music-career. Boketshu once clearly explained that was mad about the way he suffered from the period of 1997-2001 and bandleaders calling his producer to not produce. Also the way he struggled in the first years when settling in Europe from 2001. Him promising himself that if he would get power one day, he would kill the career of those who were against him. The same for Celezino who came (I think when being interviewed by Teddy Mola) with a whole story about how he struggled in music and saying that because of that he will do all his best to block musicians to perform in Europe. Ndombolhino once shared a story about a man who was really involved in music, being sung by almost all bandleaders and today being combattant, giving the reason that he would do all the best to prevent Werrason performing because his musician made his daughter pregnant.
When the concert-ban started they just forbade just concerts. But when artists performed at the 3 days congress of PPRD at Stade des Martyrs, they became really radical and came with a list of bandleaders that were forbidden to come to Europe. From that day, bandleaders had to hide like politicians when coming to Europe and fearing for their lives until the moment that they started to pay the combattants like politicians started to do, combattans calming down and sharing the money between them. They even started to get shout-outs in albums, showing up at showcases and in the studio. From that moment the movement started to become less powerful.
There were a few bandleaders who really believed in Kabila (I won't mention their names). But most did it indeed for the money. They were sometimes getting a huge amount of money are reward that they would never get in music. It’s possible to refuse. If they would refuse they would end up like Marie Paul. Back in 2012/13, I met an artist in Aubervilliers (he already pased away a long time ago) who revealed to me that 6 bandleaders received each $200.000 dollars. I will not give more details otherwise you will know who he’s. He also said that even 2 of G-5 got that amount. But I didn’t ask him if it was out of support or to compensate them because of the concert-ban.
-
It was good to stop concerts in 2011. But they had to do it for a short-term (for just 1 year) and focus more on politicians and how to be influential in Kinshasa. Because their activism had an uprising in Europe and even those who were not interested in politics were getting interested. Intellectuals who were doing nothing in Europe also became activists and started to write letters to those International Organisations and lobbying for Congo to get more decisions in our favor. But those in Kinshasa were disconnected from it. It's only 6 or 7 years later that people in Kinshasa also started opening their eyes and started to stand up. You will notice that people in Congo are today more focused on politics than music because they want change. On the other side it's also because music isn’t the same anymore like 15 years ago. Even soccer has more success (i am not talking about local soccer) than music in Kinshasa. People are more interested in Real Madrid vs FC Barcelona than following stuff about music. Its only now that Congolese music is slowly returning on the place were it was. There was even a time that foreign music had more succes in Congo itself. The young generation preferring rap and r&b music of Congolese youngsters who were born Europe (Dadju, Kalash, Damso and co) and music from West Africa than music of Heritier, Ferre, Fally, etc.
Blocking concerts doesn’t have any effect in Congo. It only harms the few Congolese artists/bands that are able to get in Europe, who have it already hard. The combattans are cowards and are afraid to fight in Congo. If you ask combattants why they don't return to start a movement there, they will insult you and say that they don't want to die like those in Kinshasa. It doesn’t make sense because when doing such things you have to sacrifice yourself. They made business from the concert-ban. Most who put a lot of energy in blocking concerts are those who have personal problems with musicians and those who failed in their music-career. Boketshu once clearly explained that was mad about the way he suffered from the period of 1997-2001 and bandleaders calling his producer to not produce. Also the way he struggled in the first years when settling in Europe from 2001. Him promising himself that if he would get power one day, he would kill the career of those who were against him. The same for Celezino who came (I think when being interviewed by Teddy Mola) with a whole story about how he struggled in music and saying that because of that he will do all his best to block musicians to perform in Europe. Ndombolhino once shared a story about a man who was really involved in music, being sung by almost all bandleaders and today being combattant, giving the reason that he would do all the best to prevent Werrason performing because his musician made his daughter pregnant.
When the concert-ban started they just forbade just concerts. But when artists performed at the 3 days congress of PPRD at Stade des Martyrs, they became really radical and came with a list of bandleaders that were forbidden to come to Europe. From that day, bandleaders had to hide like politicians when coming to Europe and fearing for their lives until the moment that they started to pay the combattants like politicians started to do, combattans calming down and sharing the money between them. They even started to get shout-outs in albums, showing up at showcases and in the studio. From that moment the movement started to become less powerful.
There were a few bandleaders who really believed in Kabila (I won't mention their names). But most did it indeed for the money. They were sometimes getting a huge amount of money are reward that they would never get in music. It’s possible to refuse. If they would refuse they would end up like Marie Paul. Back in 2012/13, I met an artist in Aubervilliers (he already pased away a long time ago) who revealed to me that 6 bandleaders received each $200.000 dollars. I will not give more details otherwise you will know who he’s. He also said that even 2 of G-5 got that amount. But I didn’t ask him if it was out of support or to compensate them because of the concert-ban.
Thank you for explaining, it's a complicated situation. You're absolutely right, radical change in Congo will require some people to sacrifice themselves for their country but the conditions in Europe are far too good for combatants to leave their families and lead a movement in Kinshasa.
Did Kabila punish Marie Paul for refusing his money, what happened to him? I know it can be difficult, but I do applaud him sticking to his values and not getting mixed up with those politicians.
Compared to Kabila, is the current president of Congo an improvement or is he just as bad? I don't really see anything in his past to indicate that we're in good hands, he's definitely not his father. Do you think he'll be reelected or do you think Kabila will steal power? I think I can guess which artist you're referring to lol
-
I dont understand those combattans why making noise, insulting people who dont support you, critizing opposition polictians who are in Kinshasa and walking in military clothes to intimidate people while you dont want to take the step.
Marie Paul wasn't even contacted by Kabila's clan. Was seen as a traitor by Kabila's clan. This was because he performed months before the elections for late Etienne Tshisekedi at Stade Tata Raphael. At that time Tshisekedi came back from Europe to announce to his suppoters that he would participate to the elections. From that moment life became dangerous for Marie Paul. He would often receive death threats and getting arrested multiple times by ANR. Papa Wemba warned him that artists who were pro-kabila were plotting against him along with influent politicians like Boshab and Kimbuta. Things would only getting worser for Marie Paul when he also performed for Tshisekedi at Stade des Martyrs for the presidential elections. Looking back to it, it was unfair from Tshisekedi's clan to not invite Marie Paul when they took power and them inviting Werrason, JB Mpiana & Wazekewa who first all refused to perform for them.
https://www.youtube.com/watch?v=R-FxFS73CBs
https://www.youtube.com/watch?v=vjQlsIxWhEQ
Felix Tshisekedi is even worser than Kabila. His clan and the ministers is stealing more money than those who used to be with Kabila. They aren't even ashamed of the big amount of money that they are stealing. Life is only getting worser for the population and insecurity being everywhere. Of course Fatshi will be re-elected. They will do their best to commit fraud. Kabila can't comeback because the constitution doesn't allow it unless he comes with a coup which I don't see happen. But this a music-forum. So lets talk about music.
Thinking about Congo's musicindustry with the concert-ban that lasted for 12 years. In all those years Congolese bandleaders could have come together to find a solution to be not indepedent anymore from Europe and fix those issues of soneca/socoda, to live from their royalties. If all those radio's, nightclubs, bars, tv-channels, restaurants, taxi's, shops would pay those taxes properly for playing music, Congolese artists would be millionaires and not having to make 30 songs to please donors and tour months long in Europe to survive. But sadly they are not smart enough to think that way. They prefer to meet ministers, the first lady and the president himself to get some small money which will finish within a days instead of discussing about a proper policy about culture and arts that would save their lives. When it comes to soneca/socoda they prefer to steal so much money they can the moment they get the power.
-
Bro marie paul was in principle contacted but one of nsone or manda stepped in to block the move because one more big name would reduce the money and then moleka of udps called him,kabila actually liked marie paul a lot its just that some of the guys behind him did not like de paul so they complicated things for him
-
about the music ban, i agree with you that it has become ineffective,but at the same time,nothing makes more noise than music in DRC,politics made a strong comeback in the recent years but at the end of the day the world of politics in DRC operates exactly like musicians aswell,you'd think you are witnessing a new version of the wenge split if you look at whats happening
i believe combattants hang on to the music ban because they know thats is their activity which catches attention,when they do charity stuff,or sit-ins and all that as long as its not music related it rarely makes any headlines but just 5 minutes of boketshu and esso for example adding ra to the names of artists and threatening them about concerts will trend for years
also the fact that musicians ALL go to see authorities before coming looks to them like they are coming on a paid mission to destroy the only little way their voice is heard
-
I think that people follow Boketshu more to hear insults and mistakes in French than really following whats going on.
There are no real politicians anymore both of them (power & opposition) are there for themselves and family but no for Congo. Many politicians you see would in Europe not have any right to speak but in Congo they can continue their political career after doing alot of stuff thats wrong. They have also not the culture to resign after a big scandal. Last year, I saw a video of a Cameroonian politican asked by a journalist why he didn't resign and him laughing saying that its something for white people. How will you except change with such mentality
-
Talking about politics. China did our country very dirty.
https://m.youtube.com/watch?v=ffMX8tXlLwg
l’escroquerie du siècle
(https://i.postimg.cc/fLdL9yY2/12-B3-EA5-C-857-D-464-B-BFA2-63-FF7-E7-E2009.jpg) (https://postimages.org/)
(https://i.postimg.cc/cJ2CCwtt/AE86-DDA4-DD54-49-BD-BDAB-0637133094-E6.jpg) (https://postimages.org/)
(https://i.postimg.cc/LsnhmN5M/E20-EB95-B-CCFF-4-F1-A-BB82-B8-D2-BE64306-F.jpg) (https://postimages.org/)