With “Waah”, Diamond sings Sebene sans its 7th guitar chord
DAR ES SALAAM: WAAH, Diamond Platnumz’s first collaboration with Congolese megastar, Koffi Olomide, remains a seminal hit in terms of craftsmanship as it embraced Sebene contrary to Bongo Flava principles.
According to available sources, “Waah” garnered over 1 million views in 8 hours and 2 million views in 13 hours on YouTube and that was a new milestone to be achieved by an African artiste, based on the fact that the “Waah” video managed to clock over 2 million views in less than 24 hours.
Collaboration with Congolese music seems very fruitful to musicians from both East Africa and the Democratic Republic of Congo, as before he collaborated with Koffi Olomide, Diamond Platnumz consolidated his artistic status with Innosy B and Fally Ipupa that led to the releases of “Yope Remix” and “Inama” that raked over 300 million views from across the globe.
That alone testifies that African musicians have become united in doing highly productive projects with the mega stars of the Kinshasa music scene.
Together with “Achii,” a later Diamond’s collaboration with Koffi Olomide, both “Waah” and “Yope Remix” incorporate Sebene only in a vocal format that facilitates quick dancing from the song’s start to its climax. Following the huge success of “Yope Remix”, Diamond and Innosy B performed together in the big event organised by the Confederation of African Football (CAF) in 2021.
In “Yope Remix”, guitarist Dizzo Balume facilitated the dance with his suave guitar sebene similar to that of Beniko Popolipo or Felly Dimbedi ‘Tyson’ of Quartier Latin’s Ndombolo era. But in “Waah” and “Achii,” it was Kamix Lizer! At every climax of both songs.
Ayo Lizer, the Wasafi official producer, composer, mixing and mastering engineer, deserves credit for Diamond’s major hits. In both of the songs, he masterminded the Soukous/Ndombolo guitar melodies and drumming to the extent that one may see the magic hands of Maitre Ficare Mwamba, Beniko Zero Faute, bassist Mombule Binda Bass and drummer Bampika Mwanza (Esthetique Djikapela Champion), whose performance created the track record of the Ndombolo-era rhythm.
Ayo Lizer takes production credits for the two tracks as the primary producer. For the generation of Bongo Flava era, Diamond’s collaboration with Congolese megastars was a throwback to the Ndombolo era with its governing “sebene” guitar, though it came in a shortened version.
For Tanzanian dance music that strictly observes the three-part format, as once explained by the former Vijana Jazz guitarist, John Kitime, sebene is the fast, dance-heavy instrumental section found near the end of Congolese rumba and soukous songs.
Tanzanians, during their dance music era, as defined by guitar legends John Kitime, Bindo Bakari and Juma Ubao ‘King Makusa’, called chemko the name of a guitar interplay system similar to Congolese Sebene.
“It is a guitar-driven instrumental part in which lead and rhythm guitars play fast, interlocking melodies in call-and-response format while the second solo (mi-solo) plays a supportive role,” said Bindo of Mwenge Jazz fame.
The word Sebene comes from the Belgian “seben,” which translates to seven in English. It points to the dominant seventh chords used in the repeating rhythm.
But for the generation that enjoys “Waah”, “Achii” or “Yope Remix”, Sebene is the vibe created by a speedy tempo that motivates people to dance, guided by a vocal animator or an atalaku, who often shouts out slogans or names sponsors to pump up the crowd.
In modern Bongo Flava and mainstream Soukous/Afrobeats productions of this scale, producers like Lizer Classic typically use one of two methods for the signature string arrangement: Digital Programming: Utilising highly advanced, synthesised guitar VSTs (Virtual Studio Technology) built directly into software like FL Studio to mimic real-time African rumba plucking.
What Diamond and his Congolese partners did was just to play danceable music for African music fans South of the Sahara Desert. It is well understood and easily danceable in a call and response pattern as viewed by fans on the YouTube platform. From Kenya, Jordan Nodin commented on “Waah”:
“President of Kenya danced to this song during an official speech!”: “Zimbabwe approves, Africa approves,” commented Yolanda Matsikira. Agbabiaka Moses says:” I’m from Nigeria show some love.” “When Tanzania and DR Congo meet the entire world shakes,” adds Grec Mugra.
“This song is firing the African continent. Like and comment the number its trending on your country,” commented Franklin Kinz on “Waah” From Nigeria, Annie Enokela says,” If you have watched this video more than once, come here, let have a meeting. Proud African from Nigeria.”
Congolese Isemwami Prince commente “Qui est fière d’être congolais? Alors lâche un j’aime…” “900k views within 7 hours. Diamond is really the biggest in Africa,” commented @Eric98223 “Who else loves Diamondz energy and strokes?” Bettinah Daniels added. “2026 suis seul ebu Diamond repos ihii comment congo ft Tanzanie,” says MANOLIASAHA.
“Trending number 1 Kenya, Uganda and Tanzania East Africa nipeni likes,” @KwehuMedia. “This a good example to our East Africa artists to set their bars high,” commented Kenyan Elias Waweru.
“Batoto ba kongole, batoto ba Tanzania and batoto ba Africa mpo? Wapi likes!!!” added @ americaninformer925.
“This guy is also another problem. Much love from Uganda,” Ssonko Joshua. “Never disappointed when it comes to Congolese artists and Diamond Platnumz. Like if you agree,” @yannkedja6947. “Anyone after 200 million views,” @said Remmy Wasike.
Zodwa in Harare.” Wow, Zodwa is now immortalised by Koffi, said Clara Munhu. Diamond’s collaboration with Congolese megastars brought sebene in a different approach as all three- Diamond, Koffi and Innosy managed to sing and dance Sebene even without guitar accompaniment.
Still, the music fans of the yesteryear generation feel alienated from energetic Bongo Flava and its associated Afrobeat since they see it as romance-less and not danceable for senior people.
Music of the present generation suits only youthful dancers. No zero-dancing with your partner like music of our era,” noted Ally Yahya, the DDC Mlimani Park trumpeter.
