Moanda, Henri Mongombe, Marcellin Delo and André Bita, the band evolved from the Orchestre Bel Guide National, which is seen as Zaïko's predecessor.

[2] Currently led by Jossart N'Yoka Longo,[3][4][5] Zaïko Langa Langa is one of Africa's most influential band and has contributed to the evolution and innovation of Congolese rumba during the 1970s, popularizing distinctive elements including variances in percussive pacing, snare drum utilization (cavacha rhythm), the sebene guitar technique, and a performance assemblage comprising atalaku, a harmonized choir, and a soloist.

[6][7][8] The band has been a breeding ground for prominent artists like Papa Wemba, Félix Manuaku Waku, Bozi Boziana, Dindo Yogo, and Evoloko Jocker, who went on to establish successful careers.

According to the band's co-founder D. V. Moanda, the name Zaïko etymologically originates from a group of Congolese students in Belgium known as Les Belgicains, which was initially called Zaïco and meant "Zaïre du Kongo".

[24] According to Marie-Louise Mumbu, a Paris-based Congolese journalist, Zaïko is a contraction of "Zaïre ya bankoko", a Lingala colloquialism meaning "the Zaire River of our ancestors.

Jules Shungu Wembadio, Jossart N'Yoka Longo, Antoine Evoloko Bitumba, Siméon Mavuela, Pierre Nkumu, and Mashakado Nzolantima were the vocalists (with the latter two hailing from the pop section).

Belobi executed this notion, thereby pioneering the cavacha beat, an innovative drumming style utilizing the snare and hi-hat that soon became ubiquitous across sub-Saharan Africa.

Evoloko Jocker emerged as arguably the band's most popular member, credited with inventing a dance craze also named cavacha, that swept East and Central Africa during the seventies.

To fill the void left by the members of Isifi Lokole, singers Likinga Redo and Lengi Lenga Nsumbu joined the group.

In 1976, Félix Manuaku Waku joins Ray Lema, Bopol Mansiamina and many others to form an offshoot band, Les Ya Toupas du Zaïre.

Manuaku Waku, N'Yoka Longo, Likinga Redo and Mashakado were selected by Tabu Ley Rochereau to join the National Orchestra of Zaire (ONAZA).

[64][65][66] Boziana also garners recognition with the release of his critically acclaimed hit singles, including "Diana Ya Mama", "Bibichana" and "Toutou".

[75][76] Meanwhile, internal tensions brewed, leading to a rift with Verckys, who took back the instruments he had previously lent to the group in the middle of a concert at the Ciné Palladium in Kinshasa, later called Cinémax.

[79][80][83] During the official presentation of the album on 30 October 1982, on the televised program Variété Samedi Soir, spectators witnessed the pioneering inclusion of atalaku (also called "animateur" by the French term) in contemporary Congolese music.

[21] British writer Gary Stewart extolled it, stating, "The voices blend with ease, yet the beat steps lively as before with a dose of synthesizer added in the name of progress".

A two-day concert at the Palais du Peuple was held on 26–27 of that month to commemorate the band's 18th anniversary, with guest appearances by Papa Wemba, Evoloko Jocker, Mavuela Somo, and Félix Manuaku Waku.

Jean-Marie Motingia (bass), Doudou Adoula (animation), Shango Landu (rhythm guitar), and Mafuta Mondial (vocals) came from Tout Choc Oka.

During the tour they recorded their twentieth album, Ici ça va...Fungola Motema, which contained six songs, including "Exil" composed by Adamo Ekula.

[122] Described by the Beat Magazine, an Australian tabloid-sized music publication, as characterized by "spirited choral vocals, good hooky melodies and vibrant, spin-ning and tortuous solo guitar passages", the album gained significant recognition, with "Exil" winning the ACMZA accolade of Best Song of the Year.

[159][156] Jossart N'Yoka Longo was the album's art director and lead vocalist, with contributions from vocalists Adamo Ekula, José Père Elanga, Strelly Mikobi, Prince Bela, and Thiro Mulunda, and instrumentalists Jean-Louis Manzanza and Jean-Marie Motingia on bass guitar, Trocadero Mukusa on drums, Daniel Muanda, Petit Poisson and Tshanda Sourate on lead guitar, and Clément Synthé on keyboards.

"[160] In April 2003, during their performance in Ireland to further promote Euréka!, Daniel, Clément Synthé, drummer Célé Mbonda, and Trocadero expressed dissatisfaction with Jossart N'Yoka Longo's handling of funds.

Contrariwise, Efonge opposed this and advocated for a collaborative effort among all original members, including Evoloko Jocker, Mavuela Somo, Papa Wemba, Likinga Redo, Bozi Boziana, and Félix Manuaku Waku, to ensure a grand celebration.

[175][176] It was recorded at Zola Tempo studio within the RTNC compound in the Lingwala commune, with sound mixing done in South Africa, mastering in France, and pressing in Dubai.

[177] Bande Annonce achieved commercial success and introduced a new dance called "Mukongo ya Koba", which translates to "the turtle's back" in Lingala.

[192] They endorsed the maxi-single with a show at Stade Municipal de Masina at Hôtel Invest in Kinshasa in January 2015[193] and later took part in the unveiling of Bimi Ombale's mausoleum at Cimetière Mingadi on the Bas-Congo road in Kasangulu.

[207][208] Starting from the late 2000s, a group of opponents of ex-president Joseph Kabila, the Combattants, have boycotted performances by Congolese artists, accused of being close to the Government.

A notable example of this style appears in their 1973 song "C'est La Vérité", which features Papa Wemba, Jossart N'Yoka Longo, and Mavuela Somo.

[219] Guitarist Manuaku Waku brought a revolutionary touch to rumba guitar with his intricate playing style, inspired by artists like Docteur Nico, Franco Luambo Makiadi, and Gerry Gerard.

By using guitar pedals to play the keyboard, Mongengo achieved a synthesized sound that was first heard in the song "Révélation", written by singer Mbuta Otis.

[226] In 1977, N'Yoka Longo, Likinga Redo, Mbuta Mashakado, and Félix Manuaku Waku were chosen to join the National Orchestra of Zaire (ONAZA) and participated in FESTAC 77 (World Festival of Black Arts) in Lagos, Nigeria.