Long before the internet, songs from Kenya, Uganda, Tanzania, Gabon, and mainly Zaire (now the DRC) were already crossing borders. Music travelled by radio, cassette, and word of mouth, even in languages unfamiliar to neighbouring countries. Zaire stood out early on, influencing not only the region’s sound but also its style.
Today, with internet access, better instruments, and a rapid wave of new talent, music from these countries has made it to a global market, not just East and Central Africa. Even so, many of the old classics that laid the foundation and once united the region continue to hold deep cultural significance.
The list below includes some of those iconic tracks. Whether you’re visiting for the first time or you’re from the region, these songs share a sound and spirit that define East and Central Africa. Many of them touch on different themes, but all are widely recognised and celebrated.
#1. Muchana by Kanda Bongo Man
Muchana (also misspelt as Mushana/Mutchana) is one of the seven tracks on Kanda Bongo Man’s 1993 Le Rendez-vous des Stades album, which he released between 1992 and 1993 while in France. Alongside other tracks like the 1990 ‘Monie,’ Congolese Kanda Bongo Man not only revolutionised Soukous music at the time but also created African timeless classics that still hit in 2025, from bars in Uganda to Disco Matangas in Kenya, and even among younger audiences on TikTok. Based on the translation on Musixmatch, the song’s message seems to articulate an earnest plea to God amid life’s trials.
#2. Bane by Oliver N’Goma
The first and title track of the late Oliver N’Goma’s 18-track 1990 debut album, Bane, was entirely produced by Cape Verdean producer Manu Lima, who came on board after hearing N’Goma’s demos. The album is widely regarded as the work that introduced and popularised Oliver N’Goma across Africa and France, where it was recorded. Over time, Bane and Lusa have emerged as two of his most enduring hits. While ‘Bane,’ which translates to ‘Tragedy,’ is a call for happiness, ‘Lusa’ is an invitation to dance.
#3. Wasakara by Oliver Mtukudzi
Wasakara is the opening track on the late Oliver Mtukudzi’s Bvuma (Tolerance) album, released in 2000 in Zimbabwe and 2001 across South Africa under Sheer Sound. While Mtukudzi is renowned for powerful and celebrated songs like Neria (1991) and Todii (the HIV/AIDS song on his 1999 Tuku Music album), it is Wasakara that profoundly embodies the African spirit. Below is a clip of him performing it live on stage.
#4. Ngé by Oliver N’Goma
Following the success of his 1990 debut album Bane, and again working with producer Manu Lima, Oliver N’Goma released his second album, Adia, in 1995 after signing with the French record label Lusafrica. The 13-track album, around themes of love and commitment and featuring two remixes of tracks nine and ten, affirmed N’Goma’s stature beyond a one-hit wonder. Nearly three decades later, Adia continues to resonate, with contemporary artists still sampling from its elements. The title track Adia and Ngé remain the album’s defining songs, celebrated across generations.
#5. Mario by Franco Luambo
Mario, by the late Franco Luambo Makiadi (also referred to as Franco), is one of the most iconic Congolese rumba songs ever recorded. Released in 1985 under his label Éditions Populaires with his band TPOK Jazz, the song tells the story of a young man named Mario taking advantage of an older woman for financial support instead of toiling on his own.
With translation, or if you understand the language, the song is catchy, with Franco using humour to criticise Mario.
It’s one of his most performed and reinterpreted songs, with live versions and remixes keeping it alive for decades. Initially released in 1985 on an album in a traditional A-side/B-side format, with Mario leading the first side and other tracks like Je M’en Fou De Ton Passe and Esuke completing the second, Franco and TPOK Jazz subsequently released two additional versions of the song. The second version, also in 1985, featured Mario on side A, with Likambo Na Moto Te and Ekoti Ya Nzube on side B, while the third version, titled L’Animation Non-Stop in 1987, included Mario III alongside tracks such as Sept Ans De Mariage, In-Irak, Merci Bapesa Na Chien…
The third version featured vocals from Jolie Detta, who had made her debut on the 4-tracks EP Le Grand Maître Franco et Son Tout Puissant O.K. Jazz et Jolie Detta, which included Kenya’s favourite track, Massu and Layile.
Distributors on today’s digital platforms, including Spotify and Apple Music, have messed up the track listing of all these songs.
#6. Nakei Nairobi by M’bilia Bel
One of the four tracks on the 1984 Keyna album, with M’Bilia Bel (Marie-Claire Mboyo Moseka) as the lead female vocalist, performing alongside Tabu Ley Rochereau’s Afrisa International band, “Nakei Nairobi” is one of the most iconic soukous (Congolese rumba) songs of the 1980s. The title translates to ‘I’m going to Nairobi’ in Lingala, and the song tells the story of the singer travelling to Nairobi to help a lifelong friend, Elodie, who is facing hardship.
The track became hugely popular across Africa, especially in Kenya, Uganda, and the wider Great Lakes region, and it played a major role in establishing M’Bilia Bel as the ‘Queen of Congolese Rumba.’ Even today, Nakei Nairobi is remembered not just as a hit song but also as a cultural bridge, symbolising the movement of Congolese music into East Africa.
#7. Dipo Nazigala by Paulo Kafeero
Not much is documented about this song, but it stands out as one of the best tracks to listen to when making rounds in Kampala. Its sound captures the spirit of the city and offers a vivid glimpse into Uganda’s nightlife. Released in 2003, the song marked a defining moment in the late Prince Paulo Kafeero’s career, reinforcing his place as a leading figure in Ugandan music.
The title Dipo Nazigala translates roughly to ‘I have closed the alcohol depots,’ symbolising a personal departure from drinking. Kafeero used the metaphor both humorously and critically, highlighting the widespread drinking culture in Ugandan society.
Still within Prince Paulo Kafeero’s music catalogue is Walumbe Zaaya, one of his most celebrated tracks, not only in Uganda but also in Kenya, particularly on disco matangas. Released in 1994, with a rendition in 2004, Walumbe Zaaya, roughly translated from Luganda as ‘Death the Taker,’ is a poetic reflection on life, death, and the human experience.
#8. Karibu Yangu by Tshala Muana
Karibu Yangu (spelt Karibou Yangu on older records), sung in Swahili and translating to “Welcome to My Place/Home,” is one of the late Tshala Muana’s signature songs. Released in 1988 on her 4-track La Divine EP, this side-B track marked the rise of her solo career after years of performing as a dancer with Tsheke Tsheke Love since 1977. By then, she had already recorded several singles and albums.
Karibu Yangu resonated strongly in East and Central Africa, primarily in Kenya and Uganda, where it became a staple at entertainment spots and even army bands. More than just a dance song, it introduced the “Queen of Mutuashi” to a wider audience and helped cement Tshala Muana’s legacy as one of the defining voices of Congolese music.
#9. Shauri Yako by Orchestra Super Mazembe
Shauri Yako is one of the classic hits by Orchestra Super Mazembe, a Congolese soukous band formed in Zaire (now DRC) that later relocated to Kenya and gained massive popularity across East Africa during the 1970s and 1980s.
Released in 1980 as part of their 11-track album Giants of East Africa, with a remastered version released later in 2001, Shauri Yako, the seventh track on the album, tells the story of a man dating a woman with high demands. Recorded in Swahili, the title translates to “It’s Your Problem” or “Your Concern.” The original composition of this track is credited to Nguashi Ntimbo and his Orchestre Festival Du Zaire.
Another notable track from the Giants of East Africa album by Orchestra Super Mazembe is Kassongo Yeye, which also became very popular in Kenya, Uganda, and Tanzania, frequently played at social gatherings, night discos, and weddings.
#10. Sina Makosa by Les Wanyika
Another East African anthem is Sina Makosa by Les Wanyika, a Tanzanian-Kenyan band that became a defining voice in East African music during the 1970s and 1980s. The title translates to “I Have No Fault” or “I Am Not to Blame.” According to Boniface Mithika of The Standard Kenya, the song was inspired by the real-life experiences of the band’s founding member, now deceased, Omar Shabani, who, along with others, formed Les Wanyika in 1978 after leaving Orchestra Jobiso and Simba Wanyika.
Sina Makosa, the title track of the 7-track album of the same name, was released in November 1979 under Polydor Records and has since become a classic, with many contemporary artists like Harmonize sampling it.
#11. Born in Africa by Philly Lutaaya
Born in Africa, Philly Lutaaya’s debut album, recorded and produced in Stockholm, Sweden, in 1986 with the support of other Ugandan exiles, was released the same year and quickly became a landmark record after its title track stood out as an anthem of African pride and identity at the time. The album’s other seven songs are Nkooye Okwegomba, The Voices Cry Out, Tulo Tulo, Naali Kwagadde, Philly Empisazo, Entebbe Wala, and En Fest I Rinkeby.
In Uganda today, particularly among the younger generation, the late Philly Bongoley Lutaaya is mostly celebrated for his Christmas repertoire: Merry Christmas, Katujaguze, Gloria, and Sekukkulu from his 1987 Merry Christmas gospel album.
Lutaaya’s complete music catalogue, five albums in total, including Born in Africa, was remastered and re-released on streaming platforms in 2015. Before that, much of his work circulated informally, as fans transferred tracks from cassettes and DVDs and uploaded them to YouTube.
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