Kanda Bongoman has remained one of the most recognisable figures in Congolese soukous, building a following that cuts across both Anglophone and Francophone Africa for more than three decades.
Part of his appeal has always been his stage presence.
The Congolese Kwasa Kwasa maestro became known for colourful suits, fedora hats and energetic dance moves, backed by a troupe of dancers whose performances added a strong visual element to his shows.
Kanda, who speaks English and French in addition to his native Lingala and other Congolese languages, says his education in both Anglophone and Francophone countries helped him master the two international languages.
"Yes, I speak both international languages. That's English and French, having attended good schools in Anglophone and Francophone countries. I also speak Congolese languages," he earlier told Sunday Magazine.
His ability to communicate across linguistic boundaries has mirrored the reach of his music.
At a time when many Congolese musicians operated largely within Francophone markets, Kanda pushed into English-speaking territories through international festivals and tours.
His appearance at the 1983 WOMAD Festival in the United Kingdom introduced his music to wider English-speaking audiences.
British broadcasters John Peel and Andy Kershaw subsequently championed his music on BBC Radio, helping to strengthen his profile in the Anglophone market.
His long association with Paris also gave him a strong base in the Francophone world. Kanda settled in the French capital in 1979, bringing him closer to European audiences while allowing him to develop his musical style.
"I find Paris to be another good home just like where we were born," said Kanda, who was born in Inongo, then Zaire, now the Democratic Republic of Congo, on January 1, 1955.
In Paris, he developed a fast-paced version of soukous that blended energetic Congolese rhythms with prominent guitar work. His approach helped make his music attractive to audiences beyond the traditional rumba and soukous circuits.
He also changed the structure of soukous songs. Rather than waiting until the end of a song for the main guitar section, Kanda brought the fast-paced guitar passages forward, with explosive solos appearing after verses and sometimes at the beginning of a song.
The approach helped popularise the Kwasa Kwasa dance, characterised by rhythmic hip movements, and gave his music a strong connection between sound and movement.
That combination travelled widely. Audiences in Kenya, Tanzania, Uganda, Botswana and South Africa embraced his music, as did listeners in Francophone countries including Ivory Coast, Senegal, Cameroon and the Democratic Republic of Congo.
His collaborations with leading guitarists, including Diblo Dibala and Dally Kimoko, further strengthened his reputation, while his appearances at major European festivals exposed him to new audiences.
William Onyango, a rhumba fan, says Kanda's showmanship was central to his appeal.
"This made Kanda very popular in the region and on the continent as well, with a unique style of doing his things," he said.
"Joyful beats that transcend language barriers and compel people to dance were an advantage to his fame to date."
Onyango also points to Kanda's vigorous dancing, stage presence and collaborations as factors that helped him establish a strong following.
His music also crossed language barriers because of its emphasis on rhythm and dance.
"Joyful beats that transcend language barriers and compel people to dance were an advantage to his fame to date," Onyango said.
For some fans, his appeal has endured well beyond his peak years. Alfred Mwangi, a resident of Nakuru, says Kanda's 1990s music remains memorable.
"I still love his music, particularly the Malinga-JT Album. It was one of my best of all the albums of the musician," he said.
Kanda's extensive touring across Africa, beginning with countries neighbouring the Democratic Republic of Congo, also helped expand his regional following before his music reached audiences farther afield.