Papa Zoé is widely associated with Cameroon’s Makossa tradition—music built for celebration, dance, and community connection. One track in particular, “Bato Bayé,” is repeatedly referenced and circulated as a standout song, reflecting a lasting footprint in the public’s memory. Over time, Papa Zoé’s image has remained closely linked to live performance culture—the kind shaped by cabarets, stage presence, and direct interaction with the crowd.

Sergeo Polo (born Serge Mpollo) is one of the most recognizable Cameroonian names connected to modern Makossa. Public biographies commonly state he was born in Douala (often listed as 14 November 1970), and his reputation is strongly tied to vocal power and a stagecraft shaped by the cabaret tradition.Music In Africa describes him as an artist appreciated across generations, highlighting exceptional vocal ability and a background rooted in “cabaret school.” The same profile points to a major early milestone: “Le mari d’autrui” (1996), a duo project with Njohreur that gained strong traction.

Dina Michou is referenced as a Cameroonian artist across several online music directories and cultural communities. His name appears in lyrics/artist databases (Kamerlyrics) and in Makossa-focused playlists or uploads.Musically, Dina Michou is explicitly labeled Makossa in certain uploads (for example, “Bomona” categorized as Makossa on SoundCloud). His name also circulates around shared tracks and clips, indicating continued audience recognition in community spaces.