On Saturday, May 16, 2009, the 11th Annual Compas Festival took place at Bicentennial Park in Downtown Miami, featuring a lineup that included many of the hottest bands in the Haitian music industry. Unlike previous years, this festival included over 15 bands, a potential stage management nightmare. To address this, the organizers set up two stages to cut down on dead time and keep the festival on schedule. Initially, the two-stage setup seemed promising, but as the evening progressed, it became clear that it presented more challenges than solutions. The crew struggled to manage the double stage setup, resulting in poor sound quality and, eventually, one of the stages was out of commission for a couple of hours. Nevertheless, the show continued.
The festival opened with the gospel band Revelations, which includes former Nu-Look bass player Felder Antoine. They were well-received initially, but as their performance progressed, the crowd’s enthusiasm waned, signaling their readiness for the main Compas Festival acts to begin. Despite a 30-minute set, the crowd’s response suggested mixed feelings about the inclusion of a gospel act in a predominantly secular event.
Orchestre Septentrional, a musical institution celebrating its 60th anniversary, performed with a team of new, younger musicians. While their musical performance was solid, their casual attire clashed with the traditional, uniformed image fans expected, diminishing the impact of what was supposed to be a highlight of the evening.
Lesser-known groups like Gabel and Back Up performed early, receiving a lukewarm response from the sparse early crowd. This lineup choice seemed misguided for a Compas Festival, where more popular bands might have better sustained early interest.
ROCKFAM LAME A brought a socially conscious message to the festival, reminding attendees of the recent tragedy of Haitian migrants lost at sea. Their impactful performance was cut short, unfortunately, as they were hurried off stage to make way for the next acts.
Zin delivered the best performance of the evening, highlighted by a surprise appearance from former member Princess Georgy. Despite some visible discomfort among the band members, the chemistry on stage was undeniable. Their set included fan favorites like “Depi’m wè’w,” “Lanmou Sa,” and “Kok,” with Georgy’s playful interactions with Alan and Alex adding a nostalgic touch.
Kreyol La impressed the audience, stepping up as underdogs and holding their own among the more established bands. Nu Look’s performance featured excellent sound quality and song selection, though it lacked in showmanship and visual impact.
CaRiMi and Orchestre Septentrional were notable for their lack of effort in stage presentation. Despite this, CaRiMi received the most enthusiastic crowd response, proving that their fans prioritized the music over visual elements.
Djakout Mizik made a dramatic entrance with Shabba and Pouchon emerging from a box, a move that initially worried some but ultimately excited the crowd. T-Vice lit up the stage with vibrant colors, enhancing their visual appeal.
Special mention goes to Black Dada and Kevin Little, whose performances highlighted the festival’s attempt at musical diversity. However, this approach might need reconsideration unless aiming for a broader Caribbean Festival.
According to park officials, the festival drew 13,091 attendees, a significant drop from the nearly 20,000 the previous year. This decline may be attributed to the recession or competition from the Al Compas Festival held in Broward County on the same day. Despite technical glitches and downtime, the festival left most attendees satisfied, thanks to the hard work of the organizers and bands.
Overall, the 11th Annual Compas Festival was a success, focusing on delivering a genuine show rather than just drawing large numbers. If the organizers, Noel and Cecibon, continue to prioritize promoting Haitian music and culture, the festival is poised for future growth and broader appeal.
