[11] JazzTimes noted that "Dikongue's musical turf isn’t the dance-driven world of intensely rhythmic West African styles, but a softer melange, grounded in elements of Brazilian influences and a general emphasis on acoustic instruments.

"[14] Robert Christgau wrote that Dikongué is "what happens when Afropop becomes world music—when it targets broad-minded European connoisseurs rather than rhythm-schooled African sophisticates.

"[15] The Washington Post stated that "Dikongue's distinctive style melds classical guitar, Latin-jazz balladry and French chansons.

"[16] The Orange County Register praised Dikongué's "sweetly suave style," writing that he "crafts low-key, folk- and jazz-infused Afro-pop.

"[17] AllMusic wrote: "Offering an interesting alternative to zouk and makossa, Cameroon's Henri Dikongue favors an introspective, sensitive and ballad-heavy approach on C'est la Vie.