Henri Dikongué was born in Douala, in Cameroon on the 6th of December 1967. Growing up in a family of talented musicians, it was not long before young Henri learnt a number of basic musical skills and began putting them into practice. Henri went on to sing in a Protestant choir with his grandmother, in a local neighbourhood known as "la Briqueterie". Meanwhile, back at home with his uncle, Henri was learning the rudiments of his favourite instrument, the guitar. However, while music played an important role in Henri's early education, his parents never imagined for one moment that their son would go on to take up music as a professional career.

When Henri turned 23 his parents sent him to France to study law at the Université de Besançon. However, Henri remained firmly committed to music. Indeed, the young student would soon abandon his law studies and enrol at the Ecole normale de musique in Paris.  

Henri rapidly became involved in the Paris music scene and began working on a project for an album. Unfortunately, the album would not get released for another few years, but this did not deter young Henri from his musical ambitions. On the contrary, the young entrepreneur went on to set up his own theatre company Masques et Tam-Tam. This innovative company, which fused music with elements of traditional theatre also involved the actor Martin Yog, the musician Alfred M'Bongo (from ex-Zaire) and Franco-Cameroonian music star Manuel Wandji. After creating his own theatre troupe, Dikongué soon went on to work with another company, performing with the South African choir Banthu Maranatha. 

In 1989 Dikongué decided to settle in Paris for good. (Around the same period the talented young musician also decided to devote himself to perfecting his classical guitar skills). Once he had set up base in Paris, Dikongué found himself at the heart of the capital's thriving African/world music scene, which was really beginning to take off by the end of the 80's. Dikongué soon began to make a name for himself and the talented youngster ended up working alongside some of the greatest world music stars such as the legendary sax-player Manu Dibango (who also traced his roots back to Cameroon) and the Zairean star Papa Wemba. While busy pursuing all kinds of interesting musical collaborations in Paris, Dikongué also continued to work on his own album project. He was a notorious perfectionist, however, and his painstaking work in the studio meant that it was several years before his first album was ready for general release.

Following the release of "Wa" in April 95, Dikongué embarked upon an extremely busy concert schedule. At the end of April he supported the Cape Verdean diva Césaria Evora, when she performed four shows in Paris at Le Bataclan. Dikongué's performance was hailed as a triumph and the Cameroonian star was soon inundated with invitations. In May and June of that year Dikongué was invited to perform at Le Satellite Café. Then, in the summer of 95, he embarked upon a hectic round of music festivals, fitting in an impressive performance at the "Musiques noires pour nuits blanches" event organised in Paris at Le Divan du Monde in September. In October Dikongué went on to perform a sell-out show at Le Hot Brass (a much-loved Paris venue which was sadly forced to close in 1997). 

Dikongué chose to return to Besançon (the town where he had lived when he first came to France) to record his second album, "C'est la vie". This album proved to be a particularly pleasant surprise for fans and music critics alike. For Dikongué not only confirmed the talent he had shown on his first album, he also began exploring several new musical directions. A group of Dikongué's loyal musician friends joined Dikongué in the studio to record "C'est la vie". These included Manuel Wandji (who co-produced Dikongué's album), backing singers Cathy Renoir and Valérie Lobe, bass-player Armand Sabbal-Lecco, violinist Nasser Beghdad and Alain Jean-Marie, a talented pianist from the French Antilles. Like Dikongué's first album "Wa", "C'est la vie" was entirely recorded in Douala - with the exception of one track "La vie est belle" which the Cameroonian star recorded in French.

At the end of 97, Dikongué returned to the live scene, giving a thoroughly impressive performance at the Paris music festival "Africolor". Then on December 26th Dikongué flew out to Cologne to give his very first concert in Germany.  

In March 98 Dikongué embarked upon an extensive tour of the States and his catchy African style soon proved a huge hit. with American music fans. Following the success of Dikongué's concert tour, the American label Tinder Records signed a distribution deal with the African star, promoting his album on the West Coast. More than 10,000 copies of Dikongué's album were sold in the States in the space of just three months - a truly impressive feat for an artist singing in French!

One of the highlights of Dikongué's recent career came in May of this year when the Cameroonian singer returned to his homeland to participate in the first edition of "Les Rencontres Musicales de Yaoundé". Although Dikongué has chosen to base himself in France, this has not stopped him from becoming a major star on the Cameroonian music scene. And when Dikongué took to the stage in Yaoundé local music fans gave him an ecstatic reception. But the atmosphere at Dikongué's next concert in Douala proved even more electric, when the singer performed to an audience made up of hundreds of female fans! 

Henri Dikongué returned to the music news in September 2000 with a third album entitled "N'oublie jamais" (Never Forget). Masterminded by Cameroonian producer Etienne Mbappé and released on Buda Musique,this album found Dikongué experimenting with a wide variety of styles ranging from rumba and flamenco to reggae and classical music. The new album also included contributions from Makossa sax star Manu Dibango and legendary Antillais pianist Mario Canonge.

Unfortunately, sales of "N'oublie jamais" failed to live up to the success of Dikongué's earlier albums, but the Cameroonian singer continues to delight audiences around the world with his sophisticated, nostalgia-filled ballads.

At the beginning of 2005, Henri Dikongué re-emerged on the scene with a new album entitled “Biso Nawa.” This fresh and highly personal work featured contributions from his usual collaborators: singer Cathy Renoir, bassist Etienne Mbappé and guitarist Jean Paul Flores. Songs on the album revolved around universal themes such as love, nostalgia and the importance of family. However, commercially speaking, “Biso Nawa” enjoyed only limited success.

April 2007