Haitian music legend Yves Fanfan Joseph on konpa’s evolution

SPRING VALLEY, N.Y. —  Not too many Haitian konpa artists can say they surpassed rock stars on a music chart of their heyday, recorded songs in between the crowning of roosters, or triggered the event of a complete new style. One of many few who can is Jean Yves “Fanfan Tibòt” Joseph, a founding member of Tabou Combo, Haiti’s legendary 57-year-old band and one of many few unique konpa teams nonetheless performing right this moment. 

As we mark the seventieth anniversary of konpa—birthed formally on July 26, 1955—we turned to Joseph for a stroll by means of the music style’s evolution, from its earliest days in Port-au-Prince as an offshoot of merengue to its emergence as a worldwide export. Since Tabou’s founding in 1968, Joseph has had a front-row seat to the numerous phases of the style by means of the years. At instances, he was within the driver’s seat as his band experimented with new inspirations and applied sciences that helped it attain the apex of world music. 

Joseph generously offered a wealthy historic overview of konpa, from its origins in 1950’s Haiti to its international attain within the Nineteen Eighties and present challenges as expertise continues to impression artistic content material in all places. He shares deeply private anecdotes, his personal migration story as a dyaspora, and insightful views on the style and his present issues. 

The Haitian Instances sat down with Joseph in June at in Spring Valley, N.Y., the place he lives and operates two companies subsequent to one another in a modest strip mall, La Baguette Dor Bakery and Patisserie, in addition to the La Baguette Bistro, a restaurant and lounge adorned in Haitian artwork alongside its partitions.

The interview beneath has been condensed and edited for size and readability.

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Macollvie Neel / The Haitian Instances: Fanfan. Thanks a lot for letting us be part of you in Spring Valley for a little bit bit to speak about konpa reaching its seventieth anniversary, what it’s been like for you.

Jean Yves ‘Fanfan” Joseph: Properly, sure, right here we’re, 70 years since konpa began in 1955—I’m so comfortable and I’m so proud to be a part of that, one of many individuals who promoted konpa all through the world. 

THT: Inform us about that journey out of your perspective.

Joseph: Konpa began in 1955, and Tabou Combo was created in 1968. We’re the second [or third] era, coming proper after Shleu Shleu, Les Fantaisistes de Carrefour. 

THT: Take us again there – the place it got here from and the way all these bands you talked about created the very first generations of konpa.  

Joseph: From what I’ve witnessed and heard, konpa is from the Dominican Republic. I do know I’m going to get plenty of warmth for saying that, however I’ve to inform the reality: The Dominican Republic was very influential in creating that likelihood. One particular man named Ángel Viloria, a Dominican artist, used to return to Haiti quite a bit – crossing the border and enjoying [merengue] music. He had a broad viewers among the many younger folks, the higher class and all people. 

The Haitian musicians have been form of like, ‘Who is that this man?’ We have been watching him going out with our ladies, filling within the golf equipment and every part. Nemours Jean-Baptiste had his personal band then. He determined to play the identical music as Viloria, however with a slower beat applicable for Haitian tradition.

THT: Earlier than Viloria was coming in and enjoying merengue, what have been Haitians enjoying then? 

Joseph: The Haitians have been largely enjoying troubadours, with a trio of fellows enjoying small venues and all these items. With the American Occupation, big band jazz was additionally dropped at Haiti— Depend Basie, Duke Ellington. Guys like Nemours, who was a sax participant in a giant band, began to scale back the format [size] to play in golf equipment. In 1955, they gathered with a bunch of fellows, amongst them Richard Duroseau, and created Ensemble Aux Calebasses. The primary live performance was at Place Saint-Anne in Port-au-Prince. It was free – all people got here.

THT: What precisely did Nemours Jean-Baptiste do with the sound to make it new?

Joseph: He slowed the beat down and sang in Creole. He introduced his personal tradition, his personal language, his personal style—and created konpa. All through the years, konpa advanced. Now, we have now a completely totally different konpa from what Nemours created. 

THT: Earlier than we get to that evolution, inform us about your first time listening to konpa music? 

Joseph: I used to be strolling to highschool, at 5, six years previous, once I first heard it. However I began listening to music once I was about 13, 14. Nemours had very catchy songs and he known as it “industrial” to be easy and direct, to the purpose, so folks can catch it from the primary beat. It’s konpa direk. Nothing difficult – simple chords, simple to comply with – so folks can simply take pleasure in themselves. Nemours mentioned it in his music.

As soon as Haitians acquired their very own music, they weren’t listening to Dominican music anymore. Folks simply overwhelmingly simply took the scene. 

THT: Take us back to you recognize like your first bal—not as a musician enjoying, however as a fan?

Joseph: Oh yeah. There’s a man who used to reside in Pètion-ville whose band was known as Jazz des Jeunes. When he was going to bals, he used to take us to this place, Djoumbala, in an space known as Freres. Myself, Jean-Claude Jean and some different guys used to go pay attention.

Music is part of Haitian tradition—very, very, very a lot a part of our tradition. Moreover enjoying soccer, that’s the one different factor [for fun] you’ll do.

THT: So how did you begin discovering your love for music to the purpose the place you joined a band?

Joseph: To inform the reality, I by no means thought I’d be a musician. By no means in my wildest creativeness. However I grew up in Pétion-ville and went to the Lycée de Pétion-ville with André Dejean, Hermann Nau. These guys have been musicians from the get-go. I used to be a soccer participant, captain of the Lycée workforce. Jean-Claude Jean was my finest good friend—and he was into music. He used to go to rehearsal with Tabou Combo on Sundays, so I’d go to rehearsal and anticipate him to hang around afterwards. 

Someday, Tabou Combo had an argument with the conga participant, and he didn’t present as much as play [at a kermesse]. The band couldn’t cease, so Jean-Claude mentioned, ‘Epa Fanfan la [Fanfan’s here].’ So I performed. I don’t even keep in mind what I did.

THT: Did you finally be taught to play the conga?

Joseph: Sure. There was a man who used to play congas—Pierre. He confirmed me tips on how to play conga, for 20 cents for every lesson. I turned ok to do a recording. There was no such factor as punching a pc. You needed to play reside, on level, each time. I miss these days.

THT: What did truly recording a music seem like?

Joseph: There was one man, Widmaier, doing the recordings. Our first album was recorded on two tracks. So there was this membership known as Djoumbala, the proprietor was a cock fighter and he had a gagè within the yard. We went into the nightclub to document the album and each time we began, we heard ‘coo coo coo,’ ‘coo coo cook dinner’ from the cocks. At 7 o’clock, all of them stopped and that’s how we recorded the album. Once they went to sleep. 

Making the band, the primary time 

THT: Speak concerning the composition of a basic konpa band. Earlier than expertise, what have been the principle folks wanted? 

Joseph: Formation was: Two guitars and a bass, like The Stones and the Beatles. For rhythm functions, conga—which was very a lot a part of Haitian tradition—together with the gong and an accordion, for the reason that keyboard was non-existent, and, the vocals. 

For rhythm functions, we added conga—which was very a lot a part of Haitian tradition—together with the gong and an accordion…

THT: How was that totally different from say the formation that Nemours Jean-Baptiste had? 

Joseph: Nemours Jean-Baptiste had the large band affect. He’d have trumpets and 4 saxophones. That formation got here beneath the affect of Duke Ellington and Depend Basie. However when the Stones and the Beatles got here, it was a brand new era of music enjoying with all this rock and roll 

THT: How did the followers reply? 

Joseph: I keep in mind in the future they advised us our music we recorded, Gislene, was going to play at 8 o’clock on the radio. On the time, we rehearsed within the open air at Albert Chancy’s home, within the yard. That day, the identical children who used to observe us rehearse, the entire neighborhood, gathered round a small radio we had. I held the small radio [up] excessive. Once they began enjoying the music, the entire neighborhood erupted—’Oh my God.’ That was loopy. 

THT: I perceive totally different neighborhoods had their very own bands—that’s how the polemics began. 

Joseph: There are all the time polemics. Whenever you’re younger, you’re all the time making an attempt to place your mark on this planet. There are polemics between the Beatles and the Stones. It’s all the time like that, nevertheless it wasn’t something dangerous. It was like motivation, I’m making an attempt to be higher than you. That’s human nature.

THT: At the moment, quite a bit was happening politically in Haiti. How did politics find yourself touching you or the band after some time?

Joseph: I’d not say that politics affected Tabou Combo immediately. I imply, we had some interplay with some jealous husbands who have been politicians as a result of their girlfriends used to return to the band. 

I imply, there’s all the time politics in Haiti. With Haitians, when one thing is finished, folks would ask you, ‘Who was president then? Underneath which president?’ That makes its means into the music. Politics is a really, essential a part of Haiti, sadly. It brings plenty of hatred, plenty of anger, plenty of stress. 

THT: How does that chaotic setting have an effect on the music itself? 

Joseph: Properly, musicians can’t evolve as a lot. There’s all the time some turmoil. They can’t go to the studio as a result of the roads are blocked. You can’t go to carry out as a result of there’s a curfew. It’s all the time one thing. Politics has an excessive amount of clout in Haiti. 

Remaking the band overseas

THT: It’s the rationale so many individuals ended up leaving Haiti within the 60s and 70s. Why did you must transition to the U.S.?

Joseph: The band disbanded in Haiti as a result of our dad and mom didn’t like the thought of us being musicians. At first, they thought it was a really good exercise. If someone has a birthday, you come to the home and the band performs without cost. When our music began being performed on the radio and all people favored it, we acquired contracts in all places. Albert Chancy’s father mentioned, “I don’t assume Albert goes in the precise route,” so he shipped him to Canada.

We had a [farewell] social gathering. All people was crying. And I keep in mind this man who was once a well-known DJ on the radio got here and mentioned, ‘Properly, Tabou Combo won’t ever die.’ After that, all of us began touring. Again then, Haitians traveled. We have been revered all around the world. They didn’t assume ‘I’ll go to a spot and keep.’

THT: How did you all find yourself in New York?

I ended up going to Chicago in ‘71, ‘72 to proceed my research. My godmother was dwelling there, however the different guys who got here to New York—Kapi [Yvon Andre] got here to New York. Jean-Claude Jean got here to New York. Hermann got here to New York. They discovered different gamers and so they mentioned, ‘Why don’t we put the band again collectively?’ I used to be getting plenty of calls, the blokes saying, ‘We’re ready for you.’ I used to be in Chicago making an attempt to maneuver on with my life. However I couldn’t discover work, and it was chilly as hell. So I advised my godmother, ‘I’m going to New York.’

THT: What was performing right here like at the moment?

Joseph: The Haitian diaspora was nearly non-existent. Brooklyn had just a few Haitians and Queens. Miami has essentially the most Haitians, however there was no neighborhood. After we’d go to Boston, no person confirmed up as a result of there was no person there. In order that’s after we mentioned to ourselves, we have to make one thing.

THT: So, how did you make it each day? Did you progress in with mates, the band guys?  

Joseph: You’re going to snicker at this. The supervisor of the band had two bedrooms and he was married. So, he gave one bed room to Shoubou [lead singer Roger Eugene]. I used to be dwelling there, in the identical mattress with Shoubou—a queen measurement mattress. Me being a spoiled brat, I didn’t even know tips on how to wash my garments. Shoubou washed my garments.

THT: Oh, wow! And, the place in New York was this? Do you keep in mind the residence?

Joseph: Shepherd Avenue in East New York. It was the hood. However I didn’t know the distinction then.

THT: Did you find yourself working as a full skilled musician then? Otherwise you discovered a job? 

Joseph: Music was nonetheless a pastime. I used to be a safety guard at a clothes retailer, Rainbow Outlets, making $2 an hour. I got here house with $60. I then lived in a basement on Linden Boulevard with the opposite band supervisor, and my lease was like $50 a month. The boys used to rehearse in that very same basement. So on Saturday, we have been rehearsing in my room. 

I additionally went to mechanic college. It was the one college that will settle for me with out papers, so I mentioned. ‘What the heck?’ After graduating, I labored for one week! I acquired one other job as a chauffeur on the United Nations for the Congo Mission. I labored there for 10 years. 

THT: And the way had the formation of the band itself modified by then?

Joseph: Now we have synthesizers on the scene. The primary synthesizer was known as a Moog. So we used that in sure recordings, however we didn’t have a keyboard participant. The primary time we had a keyboard participant was in ‘Kité’m Fè Zafèm.’ Ernst Marcelin—He was a jazz participant and slot in as a result of he launched that sophistication within the konpa. Sadly, he acquired shot after a gig at Le Manoir in Brooklyn. He acquired shot on this automobile. They stole his keyboards or one thing like that. 

What Kassav did with us is strictly what Nemours did with Angel Viloria. It was like a satisfaction factor, a nationalistic factor.

THT: At that time, what have been among the adjustments you began seeing on the scene? 

Joseph: Within the 80s, when the keyboards and the synthesizer got here alongside, Kassav got here round. What folks don’t understand is that the musicians from Kassav are die-hard Tabou Combo followers. After we have been on stage, they used to return and watch us and take heed to us. 

These musicians have been watching us—one other band coming in from overseas, going out with their girls, taking on the scene. They mentioned, ‘What are we going to do? We are able to’t let that occur. Now we have to do one thing.’ It was like a satisfaction factor, a nationalistic factor. So, that’s what Kassav did, with the keyboards. That is precisely what Nemours did with Angel Viloria. 

I used to be impressed with the vitality, with that sound. It was so clear. So we employed a man to place us into that expertise—Brad Baker to do the programming. Round this time is after we get Top Vice. [Sweet] Micky. It was a decreased model of a band. You solely had two, three guys enjoying the music and making the identical cash. So, why not?

Music desires and cash talks 

THT: Since Tabou didn’t scale back the band and as a substitute added a keyboardist, how was the cash then?

Joseph: Tabou Combo wasn’t about creating wealth. This was a few bunch of fellows wanting to overcome the world with their music. It was about being on the radio, being on TV, being konpa stars. 

You don’t go to music, saying, ‘Oh man, I wish to get wealthy. That’s why I’m enjoying music.’ No. I don’t assume it really works like that. 

THT: How does it work then?

Joseph: It’s like this: You’ve a dream and also you keep behind a dream. That was the mentality of my era, with guys like Mick Jagger or John Lennon. There’s plenty of different methods to generate income apart from enjoying music. You get a job, have a occupation. 

It appears, sadly for Haitians, prefer it’s a means out, to both get a visa. They type a band or have easy accessibility on a pc. Some folks don’t take the time to grasp the music or play an instrument.

THT: What’s the cash like, although? Yearly, how a lot have been you making on the time?

Tabou began making actual cash with “Aux Antilles,” “Kité’m Fè Zafèm,” “Zap Zap,” “Fenoméne Tabou.” All the things earlier than was simply gigging. With “Fenoméne Tabou,” I believe the sound man purchased a home after a tour. One 12 months, we made one million [dollars] with “Aux Antilles.”

THT: That’s fairly good by any requirements. Now, while you talked about the necessity to have a occupation. Which did you pursue?

Joseph: I took the LSAT, and the second time I handed it. I used to be admitted to the College of Michigan. I didn’t go as a result of I used to be married. I had a child. After some time, I nonetheless needed to go to highschool. I took a course at Metropolis Faculty, found I liked math. So I studied worldwide relations and schooling, graduated in ‘88.

THT: Did you find yourself educating?

Joseph: I had a foul expertise. In my internship, I used to be assigned to children who’re on the verge of dropping out, to deliver them again into college. These children have been speaking about graffiti, killings. I didn’t like the way in which they addressed lecturers; no respect, so I mentioned, ‘This job shouldn’t be for me.’ At that time, cash was there, the celebrity was there— every part was there. I used to be on TV and we have been flying to plenty of locations.

Going international for good     

THT: What was that like, taking the music all around the world again then? 

Joseph: Doing all these reveals in Martinique and Guadeloupe, typically we didn’t receives a commission. Typically we slept on the airport as a result of the promoter didn’t purchase us a ticket to return to New York. They used to place beds [mattresses] on the ground in a single resort room for everyone to sleep. Different instances, they’d lease a home or one thing to place us there and simply deliver us meals.

The followers didn’t know the circumstances. Each time we acquired on stage, all people was comfortable, screaming. In Martinique, we used to play twice a day for like 15 days. Two reveals each night time—the primary one begins at 9 [o’clock] till like one within the morning. The second begins at two till six within the morning.

THT: How did you all ultimately get out of these conditions?

Joseph: Haitians have been badly regarded in Martinique again then as a result of sure Haitians, sadly, used to go there searching for work, have been barely educated. They used to work in plantations. However after we began going there, they noticed we lived in New York, spoke French, and thought we have been totally different. That’s when it [konpa] began to assimilate. 

THT: That was nonetheless primarily for French-speaking audiences on the time. When did konpa begin turning into extra of a worldwide factor? 

Joseph: Really, our first international hit was “New York City” in 1974. That’s after we have been throughout Europe, not simply France. A la ti pitit danse, oh, oh oh— that was our first world hit. 

THT: For any Haitian band? 

Joseph: For any Caribbean band. On a European chart, we have been primary over Ike and Tina Turner. 

THT: Wow. Did you begin getting that feeling of turning into the Rolling Stones as you had dreamt of? 

Joseph: After that have, you begin to have a look at music otherwise. I began seeing folks I by no means noticed earlier than, locations I’ve by no means seen earlier than in my life, folks from big-time newspapers. I went to locations that you simply by no means knew existed. It opens doorways for you. 

THT: Inform me extra. How so?

Joseph: There’s an editor from Vogue journal that was in love with me. So I used to be in Paris, and we have been invited to the document producer’s residence in Paris 14ème. Gerard Depardieu was there. Alain Delon—all these big-name French folks. And the producer introduces us. ‘Women and gents, these are the blokes who made me essentially the most cash this 12 months: Tabou Combo.” All people was like, ‘Wow.’ And that girl simply took me and began dancing with me on the espresso desk of the residence. Like singled me out, kissing me in all places.

I mentioned, ‘Oh, my god.’ So, you began seeing totally different folks. I mentioned, ‘Properly, that’s what music is about.’ you recognize? If you find yourself up there in large studios, plenty of cameras, you go to TV stations—That’s it. 

Enjoying for the neighborhood is a distinct story. That’s what I all the time say to my fellow musicians: Attempt to conquer the world. You’re going to see music in a distinct mild. 

THT: Yeah. You’re not on the ground anymore. 

Joseph: That’s how it’s although. All the time attempt your finest, all the time attempt to make it on a global stage.

THT: You point out your spouse and having a household a number of instances. How would you describe the function they performed in your choices about pursuing music and being a konpa star? 

Joseph: My household—my spouse Nadja and son Mikhail—has been very supportive of my profession as a musician, touring world wide. I keep in mind my spouse giving me a trophy after I wrote “Aux Antilles.” I used to be shocked! 

Surviving the grind

THT: Now that you simply’ve turn into a mentor to among the youthful generations, inform me among the recommendation you end up giving them. 

Joseph: I believe it’s to be true to your self. You realize, don’t mislead your self. Don’t assume you’re one thing that you simply’re not. If you recognize you’re good, know you’re good. Be humble and simply follow your dream. 

What we did in Tabou Combo was loopy. It was loopy as a result of we might have ended up in a distinct place. There’s no assure. [About 90%] of musicians don’t make it. It’s like being an NBA participant. Not all people can play with the Lakers. 

Sticking collectively—That’s what Tabou Combo taught me. How one can stick collectively. No person ever ever tried to half from the band, to say ‘I’m leaving this bullshit’ as a result of he didn’t make any cash or a promoter mentioned, ‘Oh, I’ve no cash to pay you guys’ and simply vanished. No, you name your ex-girlfriend or your girlfriend and say, ‘Chérie, are you able to ship me a ticket?’

About 90% of musicians don’t make it. It’s like being an NBA participant. Not all people can play with the Lakers.

THT: Once I see you guys on the market, enjoying in Panama continually, locations in Africa, all around the world—do you are feeling such as you’ve achieved your objective?

Joseph: We might’ve been quite a bit farther if we spoke a distinct language, if we have been in English. I’ll in all probability get plenty of criticism for saying that. However, lyrics are necessary. Have a look at Juicy Lucy—lots of people prefer it as a result of they perceive the lyrics in English. That’s why we attempt to all the time incorporate English in our songs so folks can relate. And it really works.  

Throughout that period, there was no social media. It was solely radio and TV. So it was very restricted. With social media, you’ll be able to have one million views talking Creole as a result of folks have extra entry to your stuff. 

THT: So now you’re taking a look at this expertise. You talked about SoundCloud. There’s AI now. Such as you mentioned, lots of people attempt to use music as a means out, with out understanding it—

Joseph: It’s not like they don’t perceive it, they only don’t take time to grasp the tradition. It’s similar to quick meals. 

THT: How so? 

Joseph: It’s one thing to eat. Individuals are actually perplexed once they hear music from Tabou. I used to be enjoying on the stage with one other band, and this one man there was like, ‘Oh my god. You guys are nonetheless enjoying the identical music and persons are nonetheless loving it.’ Nevertheless it’s like listening to The Beatles—who stops listening to “Yesterday” or “The Lengthy and Winding Street?” Some songs are similar to everlasting. They have been so generously carved, from the center. It’s an expression. 

THT: I’m curious to know what your ideas are on methods to keep up and develop the style, then. 

Joseph: To inform the reality, I personally don’t perceive it anymore. This [social media] views factor, for instance, simply left me. Snoop Dogg mentioned one thing like again within the day, in case you bought one million albums, you get a greenback per album, you make one million {dollars}. Now you bought one million views—the place’s the cash?

Folks used to have a stereo on the home the place they listened to music. Now all people is listening to music on their cellphone. What sound do you will have on the cellphone? 

Nonetheless, the funds doesn’t change. You continue to should pay a musician, go to a studio and every part. However you place it on-line. How do you recoup that cash? Earlier than, you used to spend like 20,000, 30,000 {dollars}—even 50,000. However we used to promote CDs, go to festivals, go to document shops—and see folks shopping for your CDs, see the cash. Now, the place’s the cash? Who’s making the cash?

THT: The platform house owners. 

Joseph: However not us. 

When the instructor turns into the scholar 

THT: So, what’s the lesson there?  

Joseph: At this specific time, I’m extra of a scholar than a instructor. The one factor I do know now could be simply that I play reside and I generate income enjoying reside. However so far as royalties go, I don’t know. The brand new era should discover a method to generate income.

THT: Right here’s one other attention-grabbing factor about konpa. We hear that in Haiti’s music scene, there’s plenty of reggae, rabòday, rap kreyol, even samba and drill music. Konpa shouldn’t be king anymore.

Joseph: They’ll take heed to no matter they need, however the music is supported by economics. The explanation konpa remains to be alive is as a result of konpa generates cash. Rap kreyol and every part, folks in Haiti haven’t any cash to assist it. It’s the diaspora who go to festivals. They go to Carimi at UBS Area, they go to Barclays Heart. 

Diaspora will not be solely in Miami, New York. Now, they’re in Chile, Brazil, San Diego, Korea, Indiana, Canada—they’re in all places. They do fundraisers, festivals, seashore events—they’re in all places. If it wasn’t for the diaspora, there’d be no konpa.

If it wasn’t for the diaspora, there’d be no konpa. Konpa remains to be alive as a result of it generates cash.

THT: In the event you have been to summarize this whole expertise as one of many icons of konpa, over these 70 years, how would you encapsulate the whole expertise in a phrase or two? 

Joseph: Fantastic. Perhaps it wasn’t an exquisite expertise for lots of people since some ended up in a foul spot. If konpa have been to be structured, that has to return from Haiti. It has to return from folks in Haiti the place konpa originated, from the bottom of konpa. If you must have an HMI, it must be in Haiti. Now we have to affect the radio stations, pay royalties. 

THT: Social media platforms, as a type of distribution, would slot in the identical class as radio stations in 2025. No?

Joseph: Radio remains to be a pressure in music promotion on this planet. Lots of people don’t have entry to or select to disregard social media platforms. So while you go to a overseas nation, you take heed to radio stations in your automobile or within the streets. In Martinique and Guadeloupe, the radio stations play the music of the native artists. In Haiti, the radio stations are competing in opposition to one another. There’s no hit parade. You must pay to get airtime. So, that [structure] must be [established] in Haiti, despite the fact that the diaspora is the spine proper now.

THT: Nonetheless although, different audiences, non-Haitians, gravitate to Haitian tradition by means of its music, regardless of the dangerous rap Haiti will get. 

Joseph: Folks love the music. They don’t care about who’s killing whom in Haiti. They only wish to take a look at the musicians, take heed to the music. They love the rhythm. Had Haiti been extra calm, extra progressive and secure, konpa [the HMI] would have been much more secure.

THT: Do you assume konpa will nonetheless proliferate internationally or will it will definitely die out? 

Joseph: These days, it’s extra about solo artists. Not the konpa of Nemours Jean-Baptiste or the complete band. Me, I’m not going to a live performance to see only one man. I wish to see musicians.

THT: So, how does it make you are feeling to think about this style as doubtlessly on the verge of going out?

Joseph: I’ve no regret. I’ve executed what I needed to do, and I’m pleased with what I’ve executed. 

THT: Properly, something you’re excited to see now, from any style or Haitian artists? 

Joseph: Oh, yeah. There’s plenty of expertise. I like Zafèm. I see Nu Look, I see Klass when I’ve an opportunity. However my all-time favourite band was DP Categorical. 

THT: Oh, sure. Palms down. Thanks a lot, Fanfan. This was an excellent catch-up.

 Joseph: Thanks.

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