On June 27, 1988, a star was born in Port-Au-Prince. Named Roody Pétuel Dauphin, the young prodigy grew up in Cité Militaire. Roody, orphaned by his father, from the age of 16 had to quickly become an adult to help his mother cope with the needs of the family.
In 2008, Roody participated in a Haitian televised musical competition where he finished among the 10 finalists. De Nature persevering 2 years later in 2010 he finished 3rd.
After working with several teams and producers, Roody finally released his first album entitled “Fok Têt Ou La” under his own label GBME (GWO BOUT MUSIK EMPIRE) on June 26, 2016. Thanks to which he became the Haitian artiste s’étant le more produced during the years 2016 – 2017 both in Haiti and abroad. Later, other hits such as Lòbéy, Tranble (which was a mega hit in the community) and M’anvi Goute’w lui have allowed him to keep his calendar just as busy for the year 2018.
In addition to the success of his album and six shows, Roody Roodboy was the Champion of the Haitian Carnival twice in 2017 and 2018.
Currently, Roody is working hard, preparing his 2nd album, which is scheduled for release in 2020.
NOTé Roody Pétuel Dauphin, his father having had the idea of slipping Pétuel to him as a middle name; due to the fact that he took birth on June 27, the day of Perpetual Help. It is in the lively and popular area of Cité Militaire that Roody grew up. A suburb broken up by cultural, social and musical events. Which represented the parage of groups as famous as “Les Ambassadeurs”, “Bossa Combo”, “Les Deuts” and others. Followed by other successive formations that have paraded through the ages and vogue. This is how the teenager Roody evolved in an atmosphere infatuated with multiple resonances. Who well cajoled his tender years; during which he periodically attends establishments: Dominique Savio, Roger Anglade and the Lycée Toussaint Louverture.
Stages between which, he simmers his artistic blossoming. Yet the political social upheavals initiated by the scoundrel ” Grenn nan bounda ”, to prevent the celebration of the glorious bicentenary of our independence in 2004, having subsequently led to the current decay of the country, remain for Roody heartbreaking moments which have also stolen from him. his father. And it was in this circumstance of deep tearing that he had the good fortune to be introduced to the guitar by his uncle Mario Dauphin. A salutary gesture that comes in time to allow him to escape into an intimate universe. Since since then he has not parted with the guitar. With which he strives to instill a musical brand. And from there, the small learning corridors to cut a profile in the gallery of contemporary sambas.
While taking advantage of a konpa-raga hip-hop, dance-hall etc orientation ; with a predilection for rapping. Helped in this sense by a refinement of the guitarist and a throat that can navigate beyond the diatonic register. Getting busy to become embedded in the temple of Kreyòl rap where the shadow of his majesty Master Dj still dominates. In addition to other heirs of weight such: Supa Denot, Black Alex, Don Kato, Top Adlerman, to name only the most significant. While continuing to expand in “ jam-sessions ”impromptu; giving way to the first solitary performances which ignite members, who find themselves in this new lyric apostle. With his background, his singularity and his showmanship that allowed him to be one of the ten finalists of the musical competition “ Digicel Stars ” in 2008.
Repeat in this competition in 2010, this time taking third place. An appointment that broadens his horizon and opens up new perspectives for him with the support of an audience that is acquired to him. By impelling him in other explorations and escapades which track him in the company of Steve and Herby Azor and the initiative Brothers Dread Production, in the execution of Mizik Malè’m . Another intermediate step which allows him to increase his armada, in order to infiltrate the soloist category. Where we do not jostle at the gates, with only: Jean-Jean Roosvelt, Belo and the reigning princess of local varieties, the sophisticated Rutshelle Guillaume. Which have succeeded during this last decade to emerge at the head of the peloton.
To which Roody is keen to subscribe, throwing the pavement into the competitive pool with his hit: Tranble which halo the distinction of ‘Best New Artist’ in 2015. Establishing himself in a short time as the new prince of Kreyòl rap . All imbued with its exclusive cachet, with an eccentric tone that rhymes and rhythm. And triggers like the alarm clock ringing in his preaching-preaches and his verbal flights. Brands that make it in great demand. Hence his duet collaboration with La Rutshelle in Espéciale which exhibits two artists representative of their lineage. On this momentum, it is the release of his introductory work: ” Tranble ”, containing the pieces:krazèd fwaye, or end gate m, karese m la, fè makak, rest in peace makomè, or pa gen parèy, zokoko (with PJ master and Master brain), pa gen 2 (with Costy Jean), san konsyans etc, which consolidate his ascent.
In full swing, he is always accosted by supporters and contenders in the middle who also want to take advantage of the momentum. Hence his collaboration with the group “Harmonik” in Lage m nan cho, the “Vyab” in the hit One night stand . And has also established itself as the most active local showmen during the pandemic. By causing riots with excited crowds wherever it happened. While continuing to lay songs that delight his fans such as: yo paka bare m, m’anvi wè peyi m, Oh nah nah, mimi miaw, luv the way, fè bouda w tik tok etc. As well as in associations with J-beats, Carline Desca in the aubade mwen pa kyè and, gave the response to “Djakout # 1” inmache sou kote . And other intrusions that projected him as the most acclaimed artist of the moment.
With Rutshelle, the Rood enjoys an unparalleled grip base. And constitutes a kind of stallion for a youth in search of authentic guides. That is to say, those who give proof of their success through their talent or hard work. Even when reluctantly, they are victims of the dross of an environment with which they also have to reckon. And Roody by refusing to play for the kidnappers, proved that the artist must also be an agent of conscience, not to say awareness. And for that, he deserves the respect of the learned and of the public who remain the supreme reverence. The same cannot be said about Arly Larivière and the group “Enposyb” who wallowed like snakes in the dust for the ill-gotten dollars of the phtk chief bandits.
In addition to this image of responsible father that he conveys. Which is just as refreshing in a world where values are degraded and trampled on. As long as this is not drama or ranges for the gallery. While admitting that true characters are only recognized after a series of trials endured through the ups and downs. This is not the case for someone who is only at the dawn of his musical career. Notwithstanding “that to well-born souls, value does not await the number of years”. Which could maximally be reflected in his future works. Conditions sine qua non to remain at the pedestal of prince of rap Kreyòl in the country of Master DJ.
