A Veteran Voice Announces His Return
Ley de Mamad’u, better known on local dance floors as Sugar Daddy Systématique, presented himself to journalists in Brazzaville on December 17, 2025, and announced a new single, “Taxi Moto,” promising what he called a “renaissance” designed to anchor him firmly on national and international playlists for years to come.
The veteran singer, born Serge Alain Victoire Tabou, insisted that music is for him neither a trend nor a circumstance, but a lifelong mission, blending the elegance of modern rumba with the urban pulses that have resonated throughout his career since his youthful experiments in the courtyards of Brazzaville and on school stages in the early 1970s.
Roots in Brazzaville’s Musical Heritage
Long before digital downloads, Tabou formed the troupe Ballet Diablo in 1972, then honed his craft with youth orchestras Les Jeunes Talents, Le Volcan, and Ngongui Fifi, cultivating a stage art that would travel far beyond the banks of the Congo River, reaching festival circuits across Central Africa.
Public attention fully crystallized in 1990 with “Petite Giani,” a radio staple whose upbeat melody secured him a passport to regional fame, enabling collaborations with names that still define the golden corridors of popular Congolese music on radio, stage, and televised evenings.
He later settled for a time in Benin, founding Wakassa and immersing himself in the characteristic buzz of Cotonou’s taxi-motos, or Zémidjan, an experience he now distills in “Taxi Moto,” creating a bridge between the urban soundscapes of the Gulf of Guinea and Boulevard Alfred Raoul, resonating as much on the avenues of Pointe-Noire as in the bustling crossroads of Ouesso.
Transcontinental Influences Fuel “Taxi Moto”
Musically, the single fuses bright guitar arpeggios, call-and-response vocals, and a percussive bed reminiscent of club-ready Afropop, but its lyrical heart remains documentary, saluting the drivers who guide users through the traffic jams that daily define the bus lanes of Brazzaville and its dusty periphery, echoing similar rhythms on the boulevards of Abidjan and Lagos.
Tabou explains to journalists that he self-funded the entire seven-track “Renaissance” project, opting for a gradual release schedule to keep each composition in dialogue with the public rather than flooding timelines all at once, a strategy reflecting the growing independence of Central African artists navigating streaming economies while retaining control of their masters, artwork, promotions, and tour schedules.
Industry Reaction and Political Resonance
Music promoters in Pointe-Noire note that Sugar Daddy’s previous hit, “La Paix,” still plays in clubs, indicating a support base for the upcoming single, while radio programmers at stations like Radio Congo have planned teaser rotations to test listener reaction before nationwide official add dates later this quarter.
The release reinforces Brazzaville’s place on the continental map, citing streaming platform data showing a growing appetite for rumba-fusion among 18-30 year olds, a demographic heavily targeted by advertisers for mobile and fintech campaigns in the sub-region, naturally positioning artists as brand ambassadors.
Within government-linked cultural agencies, officials highlight that “Taxi Moto”‘s tribute to informal transport workers aligns with political dialogues on urban mobility, artisan livelihoods, and youth employment, advanced by municipal authorities and partners in ongoing development frameworks in Brazzaville, encouraging a creative message that broadly supports inclusive economic growth goals.
While details of accompanying visuals remain secret, insiders whisper that a video shoot captured the dawn departures of motorbike riders near Marché Total, interspersed with rooftop performances, footage expected to circulate on TikTok and YouTube Shorts shortly after the single’s digital premiere, amplifying choreographed challenges for global fan participation.
Digital Rollout and Next Steps
Sugar Daddy’s team confirms that mastered audio files have been delivered to major platforms, including Boomplay, Spotify, and Apple Music, as well as popular regional aggregators in Cameroon and Gabon, ensuring cross-border reach that reflects physical trade corridors and long-standing cultural affinities within the CEMAC market, benefiting emerging listener groups in the diaspora.
Analysts, however, caution that algorithmic visibility depends on sustained marketing, which the singer plans to address via weekly livestreams, behind-the-scenes vlogs, and curated playlists highlighting his peers, tactics already boosting engagement metrics during soft-launch rehearsal sessions on Instagram Live, while aligning release dates with regional holidays and university festivals.
Asked about touring, Tabou mentions interest from festival bookers in Lomé, Libreville, and Abuja, but stresses the need to first consolidate national stages, citing lessons from the pandemic era that highlighted the importance of local markets for income stability and resonant storytelling. He plans acoustic showcases in Ouesso, Dolisie, and Owando before performing abroad.
For now, listeners can stream “Taxi Moto” or catch it on early radio rotations; whether the track climbs continental charts or simply reconnects a respected voice with his loyal supporters, its journey illustrates the adaptability of Congolese music and the enduring creative spark that animates the cultural heart of Brazzaville, inspiring emerging talents to persevere.