Salazar Jean-Baptiste, ZIN’s general manager and one of its lyricists, noted the change from past decades when bands could easily attract a thousand attendees. Today, even well-known groups like ZIN see numbers around 500. Yet, the enthusiasm remains high. “When you go to ZIN, even if your shoes are killing you, you have to dance,” shared Eugène Sonel, a dedicated fan and restaurant worker. “There’s not a song they play that you can resist getting up for.”
ZIN’s musical archive spans back to the 1980s and includes hits that continue to resonate with audiences, contributing to their ongoing demand at festivals. The band is set to perform at the upcoming Kreyolfest on June 27th at Brooklyn’s Wingate Park, alongside seven other groups, promising a showcase of professional steadiness and crowd-moving capability.
Jean-Baptiste, who also holds a license as an electrical engineer, emphasized the importance of well-organized events. “If a festival doesn’t go well, it’s not good for a band because people might say it couldn’t bring people out,” he explained. This cautious strategy has helped preserve the band’s reputation and draw.
The challenge of maintaining a fresh and relevant sound hasn’t slowed down ZIN. The band continues to integrate new talents, such as Virginia “Nia” Mahotière, a recent high school graduate from Miami, who has quickly become a fan favorite with hits like “Hasta la Vista” from ZIN’s album “3 Let Sèlman.” Despite the male-dominated industry, Mahotière has carved out her space, noting, “You just have to have a good head on your shoulders.”
ZIN’s ability to evolve while retaining its core essence is a testament to its management and creative direction. Eddy Saint-Vil, guitarist and co-founder, pointed out the importance of staying current with musical trends, a philosophy that has helped ZIN remain a powerhouse in the industry. “We always maintain a modern [up-to-date] sound,” he stated, underscoring the band’s strategy to resonate with audiences spanning generations.
As the band prepares for its upcoming performances, both domestically and internationally, their influence remains undiminished. The first 20,000 copies of “3 Let Sèlman” sold out, prompting an order for an additional 10,000 CDs, a clear indicator of their sustained appeal. Jacques Jolicoeur, a record store owner, sums it up perfectly: “It’s just ZIN. They’re original.”
ZIN’s journey is a robust example of how adaptability and understanding audience preferences are crucial in the evolving world of music and entertainment. Their story continues to inspire both up-and-coming and established artists in the vibrant tapestry of global music culture.
