By Edna-UCLIQ
The giant of Congolese music, François “Franco” Luambo, passed away on October 12, 1989, in Brussels. It was thirty-five years ago. Yet, his music and heritage remain alive today.
“De mi amor” is one of Franco’s most affectionate nicknames. It resonates like a Cuban bolero or cha-cha-chá, genres that birthed Congolese rumba. Franco founded his life’s orchestra, OK Jazz, in 1956.
“De mi amor” also reflects the deep love Zairians, especially those in Kinshasa, had for him. Kinshasa was a vibrant stage, and Franco observed its characters daily, telling their stories. He earned another nickname: “the African Balzac,” reflecting his poetic insights into the human condition.
The priest who delivered Franco’s funeral oration at the Cathedral Our Lady of the Congo said, “Franco was a prophet. He delivered a frank message that tested the conscience of listeners.” His mission, he noted, was to provoke, denounce, and tell the truth.
On October 17, Franco’s coffin was carried into Gombe cemetery in Kinshasa. Inconsolable devotees followed, as the nation mourned for four days, as announced by Mobutu.
Just weeks before his death, weakened by illness, Franco insisted on performing with OK Jazz in the Netherlands. He took the stage but could barely play a few notes before he could not finish. These were his last music notes.
A self-made man, Franco began his career on the streets. He became Congo’s most prolific composer and led an unstoppable musical force. He owned a nightclub, created his own label, and led the musicians’ union.
Franco had a complicated relationship with Mobutu. It was unclear who needed whom more—Franco for fame or Mobutu for popularity. In 1989, Franco’s death coincided with the decline of Mobutu’s reign.
Franco wasn’t just the voice of the people; he infused rumba music with traditional rhythms from Bas-Congo. He transformed the guitar into an instrument for traditional ceremonies. His unique sebene showcased the influence of the likembe, leading audiences to ecstasy and trance.
Though some may have found his style vulgar, its striking power resonated deeply with the Congolese people. Franco’s music and lyrics continue to echo their hearts and souls.
