When rivalry overshadows professionalism, everyone pays the price—especially the fans.
Arts and Entertainment | The Haitian Pulse Editorial Team | July 3, 2025
The ongoing feud between T-Vice and Klass has set the Haitian Music Industry (HMI) ablaze, with artists and fans taking to the internet to justify Reynaldo Martino’s controversial actions. During a recent show, Martino allegedly tampered with technical equipment, causing major delays in Klass’s performance. While many within the industry have scrambled to defend him, claiming frustration over Klass’s consistent position as headliner, the real issue runs much deeper.
“When these conflicts erupt on stage, the fans who paid their hard-earned money are the ones who suffer the most,” notes one Haitian Pulse cultural analyst.
This controversy is not just about egos. It’s a symptom of a music industry plagued by disorganization and the absence of universally accepted standards. The so-called Haitian Music Industry, often referred to as the HMI, is in reality a non-existent entity—a fragmented space with no governing body, no guidelines for best practices, and no clear framework for professionalism. As a result, chaos becomes inevitable.
No Rules, No Structure
Unlike more structured music communities worldwide, the HMI lacks basic rules for managing live events. There are no agreed-upon protocols regarding performance order, no industry-wide contracts defining roles, and no penalties for disruptive behavior. This void leaves promoters, bands, and fans trapped in a cycle of conflict and disappointment.
To understand how far behind the HMI is, look no further than the reggae music community.
“As a longtime reggae promoter, I’ve organized large-scale family-friendly events. Never once have I dealt with bands demanding to pick their slots. Why? Because there are standards,” explains one veteran promoter.
In the reggae scene, promoters—not bands—dictate the lineup. The promoter, as the financier and organizer, identifies the headliner based on the type of crowd they want to attract and then builds a lineup of supporting acts. Once the lineup is finalized, the order is written into a contract. It’s not up for debate.
“If an artist violates the contract, they get penalized. There’s no guessing game and no room for ego battles. If an artist doesn’t like their slot, too bad—either pull out or accept it. The promoter decides, not the band,” the promoter adds.
This approach eliminates ambiguity, ensures smooth operations, and protects the audience experience.
A Dangerous Gap in the HMI
The ongoing debate about Klass always closing shows isn’t a Klass problem—it’s a promoter problem. Many promoters in the HMI operate without integrity, often booking two equally powerful bands for the same event without clarifying in advance which one will close the show. This tactic may boost ticket sales by drawing fans from both sides, but it plants the seeds for chaos.
“When promoters pull this kind of stunt, they’re setting the stage for disaster. The bands end up fighting each other instead of focusing on their craft,” warns a cultural commentator.
The result? Resentment, sabotage, and the erosion of public trust in live events.
The Price of Ego
Reynaldo Martino’s actions, and the excuses made by fellow artists and fans, highlight how far the HMI is from true professionalism. Instead of demanding better practices, the community has normalized pettiness and accepted disorganization as part of the culture.
“In a healthy industry, no artist would dare touch another band’s equipment because they know the rules and consequences. In Haiti, we don’t have those safeguards—and it’s killing our culture,” laments a veteran musician.
The Way Forward
The Haitian Music Industry doesn’t need more rivalries—it needs structure. Promoters must step into their proper role as arbiters of events, establishing clear contracts that define who headlines and who supports. Artists must learn to respect their agreements, and fans must demand higher standards from everyone involved.
Until these changes happen, the HMI will continue to exist in name only: a chaotic, unregulated space where egos run rampant and the fans pay the price.
Final Thought
The current state of the HMI is unsustainable. Promoters hold the key to transforming the industry, but only if they embrace their responsibility to enforce standards and stop enabling destructive rivalries. Without structure, Haitian music risks losing the very audience that keeps it alive.
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