From Kinshasa to Kariakoo: How Libanga reinvented Bongo Flava

Far more than a shout-out, Libanga has become a strategic tool for Tanzanian artists, helping them foster fan loyalty, attract sponsors, and inject their music with local pride.

Its adoption is a testament to East Africa’s cultural interconnectedness and the evolution of music as both art and business.

What is Libanga?

In Lingala, libanga means "stone", but in Congolese music, it signifies praise.

Pioneered by icons such as Koffi Olomide, Werrason, and Fally Ipupa, Libanga involves musicians mentioning fans, patrons, or public figures in songs—often as a gesture of gratitude for support, whether financial or moral.

In Kinshasa, this practice evolved into a cultural norm. Concertgoers would attend shows not just for the music, but for the chance to hear their names immortalised mid-song.

The tradition soon made its way to Dar es Salaam via Congolese bands such as FM Academia and Diamond Sound, which were active in the city’s music scene.

Over time, local artists adopted and adapted the practice, giving it new relevance within Bongo Flava.

A cultural bridge from Congo to Tanzania

Cultural exchange between the Democratic Republic of Congo and Tanzania is longstanding.

With Swahili as a common language and regional migration common among musicians, Congolese musical styles—Soukous, Ndombolo, and Libanga—have deeply influenced Tanzanian music.

Following political instability in the DRC in the early 2000s, many Congolese musicians settled in Dar es Salaam, bringing with them a rich musical legacy.

Tanzanian stars such as Dully Sykes, Diamond Platnumz, Ali Kiba, James Mtoto wa Dandu, and Lady Jaydee soon began blending these influences into their work as Bongo Flava took shape—a mix of hip-hop, R&B, Taarab, and Dansi. In this context, Libanga was a natural fit.

From flattery to strategy

In Tanzania, Libanga evolved beyond flattery into a multi-functional, strategic tool. Artists began incorporating names of individuals, neighbourhoods, and even corporate brands into their lyrics—not only to build relationships, but to generate income.

Its most prominent commercial use emerged in branding and endorsements. A single lyrical mention of a company or product in a popular song can yield substantial promotional value, often resulting in lucrative sponsorship deals.

Artists also use Libanga to deepen fan engagement. Shouting out DJs, influencers, or even everyday supporters helps musicians forge personal connections with their audiences.

Leading artists like Diamond Platnumz and Harmonize have perfected this method, transforming their music into communal experiences.

Moreover, Libanga has become a vehicle for asserting identity. Musicians reference local areas—Tandale, Mbagala, Kariakoo—embedding a sense of place and belonging.

These nods to the community resonate with fans and anchor the artists’ credibility in the Tanzanian context.

What began as lyrical name-dropping has matured into a savvy approach that blends digital strategy, cultural pride, and commercial acumen.

Why it work in Tanzania

Music analysts attribute Libanga’s success in Tanzania to three main factors.

First is monetisation. In a region where streaming revenues remain limited, paid shout-outs provide an alternative income stream.

Fans, influencers, and brands can all commission mentions, creating a direct financial pipeline outside of traditional sales or performances.

Second is the influence of social media. Personalised shout-outs are more likely to go viral on platforms such as TikTok and Instagram.

A mention in a trending track often prompts fans to share widely, extending the song’s reach and shelf life.

Third, Libanga enhances regional appeal. As Bongo Flava cements its place as East Africa’s most influential genre, name-dropping personalities from Uganda, Kenya, or the DRC help Tanzanian artists connect with broader audiences and cultivate a pan-African identity.

While some critics initially dismissed Libanga as compromising lyrical integrity or pandering to sponsors, Tanzanian artists have responded with innovation.

By integrating it into Swahili storytelling, poetry, and social commentary, they’ve transformed Libanga into something uniquely Tanzanian.

A pan-African pulse

Today, Libanga is no longer just about praising wealthy patrons—it is about celebrating community, affirming black excellence, and expressing regional solidarity.

Tanzanian musicians have used it to recognise African presidents, entrepreneurs, and creatives.

A notable example is Diamond Platnumz’s collaboration with Koffi Olomide on Waah, which name-checks President Samia Suluhu Hassan and Zanzibar President Hussein Ali Mwinyi, among others.

The journey of Libanga from Kinshasa’s nightclubs to Dar es Salaam’s airwaves underscores the adaptability of African music. Tanzanian artists didn’t just import a trend—they redefined it.

By infusing Libanga with local texture, they have helped shape Bongo Flava into a truly pan-African phenomenon.

What once was seen as “throwing stones” has laid the foundation for stronger cultural bridges—and a bolder East African sound.