I first saw Kanda Bongo Man at the Africa festival in Trafalgar Square in 2007. Nearly two decades later his Soukous remains a guarantee of movement and joy.

British-based Congolese outfit Kasaï Masaï opened with a bright, rhythmic set, then stayed on as Kanda’s band. The transition felt seamless, the sense of a single extended Congolese family filling the stage.

From the first notes of 'Yolele' the 100 Club was already dancing, fans pressed close and clapping in time. Kanda’s voice, warm and insistent, rode over glittering guitar lines that bounced off the low ceiling. A mid-set 'Yesu Kristu' briefly slowed the pace, the crowd swaying gently, before the closing 'Monie' sent the room into a euphoric singalong.

At the back, London collective No Wahala Sounds manned the merch table with their usual flair, selling everything from t-shirts to rare Afro-vinyl. They also curate the Amore: Jazz & World Music Nights at Hammersmith Riverside Studios, where crate-digging and dancing share equal billing.

Soukous may be decades old, but in Kanda’s hands it still feels like the most life-affirming sound in the room.

Review and Photos: Ivan De Mello