The May long weekend usually announces the start of spring: flowers bloom, trees fill with vibrant green leaves, and the city begins to feel alive. This year, my weekend was marked by Makaya, the latest album from Montreal-based Haitian artist Wesli, as well as Haitian Flag Day on May 18, the day Haitians celebrate the creation of their flag during the Haitian Revolution in 1803.
With his iconic hat and glasses, Wesli blessed the audience with a performance that traveled through rhythms, blending African and Haitian traditions with more modern sounds. Through this musical voyage, he emphasized the ways our present remains deeply influenced by history, especially in Montreal, where culture — and music in particular — is deeply embedded in the city’s large Haitian community.
During the concert, Wesli explained the meaning of Makaya. In Kikongo, the word means “leaf.” In Haiti, it also refers to a mountain and to the gatherings where Maroons organized during the Haitian Revolution. Wesli said, “There had to be Makaya, for people to be spiritually healed and liberated.”
Anchored in history and memory, Wesli was joined onstage by Senegalese artist Ilham. With his soulful voice, they performed the Coupe Cloue song “Mon Konpé / Ti Bom.” I was deeply moved by this performance because one of my favorite artists, Joe Arroyo, created “A mi dios todo le debo,” a song highly influenced by Coupe Cloue’s music. This moment transported me directly to my childhood in Colombia.
At that moment, I stopped taking notes and stood up to dance, remembering family gatherings shaped by Joe Arroyo’s music. It is only in the last few years that I discovered how deeply this music had been influenced by Haiti. Learning about this connection felt like finding a missing piece of the puzzle, allowing me to better honor the music that had given me so much joy and connection throughout my life.
Wesli was also joined by Gaya, a wholesome singer and dancer who illuminated the stage with her energy and movement. The two have known each other for nearly 20 years, dating back to when they first began making music. Master percussionist Ronald Nazaire also took the stage, sharing ancestral knowledge through the drum. Nazaire needed no words to convey the depth and spirituality of his music.
Another highlight of the night was the band itself. Every musician shone individually, but what stood out most was the complicity between Wesli and his bandmates. Their playful and energetic interactions were contagious. Wesli generously gave space to each musician through solos and dance moments, allowing every performer to bring their own presence and energy to the stage. Everyone was shining.
So while Canada celebrated Queen Victoria, the Theatre Plaza became a space to celebrate Haitian history, memory, and musical inheritance.
