How to describe the musical style of the artist Wesli Louissaint? It’s a little bit of world, it’s a little bit of roots embedded in funk. Born in Haiti, Wesli is the leader of Wesli Band, and is currently based in Montreal.

The singer-songwriter-producer has thus far released two albums Kouraj (Courage) and Liberté Dans Le Noir (Freedom in the Dark). His songs are filled with hope, though they tend to bewail lamentable social conditions.

His work has not gone unnoticed. Wesli won the Galaxie Rising Star Award London three years ago, and a year before that won two prestigious musical awards—Prix Babel Med Music France 2010, Révélation Radio-Canada.

So, when you were eight years old, you built your own guitar. Tell us about that!

I was inspired by my father who had an old guitar that he hung high up on the wall. I wanted to touch it and take it down, but there was no question about it, I wasn’t allowed. On Sundays, my father played music in a group of troubadours to make a living. I was inspired by his guitar and so I built my own with an oil can and some nylon fishing lines. This is how I began to play in the little church that my mother ran at the time.

And your bio says that you were part of a band…a band called SoKute. Tell us about that experience.

When I was a teenager in the Protestant church, I touched a little bit on everything, such as music production, voice, guitar, percussion, etc…I was part of many small groups like Top Digital with Maestro Hanz Mercier—today known as Kréyol La—Nice with Pascal Laraque and Gilbert Ravix—currently in Mizik Mizik—Sakad, Kid Coupé, etc…But I wanted to play a different kind of music. I was already playing all styles—jazz, R&B, soul, reggae, rock, and roots. Eventually, I was given the roles of guitarist, composer, backup vocalist and musical director for the group SoKute with Steve Khe—today working with Djakout Number One—which was a new trend of Rock, Soul, and Roots in Haiti in the late 90’s. With them, my international career took off—Francofolies of Montreal, Roots and Culture Miami, etc…I entered a more serious phase of my career when I was later hired as the guitarist for Nuit des Sirènes (‘Night of the Sirens’), Kreyol Mizik by Yole Dérose and Carl Henry Desmornes. I was accompanying renown Creole artists such as Sonia Dersion, Thierry Cham, Edith Lefele, Léa Galva, Léila Chico, Eric Virgal, Jacky Rapon, Monique Seka, etc…After that, I decided to move to Canada to continue my studies in music.

What caused you to become taken by the guitar, of all instruments?

The guitar was everywhere when I was a child. I played a bit of everything because music in general fascinated me. But every time I touched an electric or acoustic guitar, something very emotive and virtuoso would emerge. Audiences encouraged me to play more often. With time, I understood the value of the instrument. Everything I wanted to do on other instruments, I could do on the guitar. It was easy to write with and to accompany myself on. Percussive, groovy and rhythmic. The guitar became my principal instrument. But at all my shows, I always touch the percussion as well.

What does music mean to you?

To me, music is a way to express my emotions and my thoughts. It is my therapy. It shows me how to live, and it is the future for Wesli and his family.

What’s it like having your own band?

I’m very very lucky that I have the freedom to have my own band. I have complete control over my music, I compose the melodies for all the instruments, and I do all of the arrangements. It doesn’t happen often that labels who sign artists internationally give them this freedom. Except Wyclef. He had that chance.

Your debut album was called Kouraj. How did that album take shape?

It was not easy. Kouraj made me break through the ice. This album taught me about the music industry and marked the beginning of my career. Although the majority of the songs were already written in my Haiti days, where I struggled through a hard life in the Port-of-Prince ghetto where I grew up, it took me 8 years of experience in Canada, including my studies, to understand and be ready to face this new world. I learned a lot about the industry here thanks to my work accompanying artists like Corneille, Gage, and Lorraine Klaasen. Kouraj is also a message of hope to the Haitian people, and to all those who come from far, who have had to face tough times in their lives.

Throughout it all, how did your parents feel—about the fact that you were so drawn to music?

Like all Haitian parents, they sometimes associate music with drugs and alcohol, which is a big misunderstanding. At the beginning, they thought I was crazy. So I used to hide to go and practice. My mother wanted me to only sing gospel. They absolutely wanted me to go to university. But in the 90’s, the economy in Haiti was suffering enormously from political problems. So my parents couldn’t push me any further after my secondary school studies. They had no choice but to let me go.

You’re constantly on tour. What’s the most memorable place you’ve been to?

There are many moments that have left their imprint on me—such as my concert at the Doc du Sud in Marseilles in the south of France—where I won the Babel Med Music France award, as well as my three performances at the Montreal Jazz Festival in 2008, 2009 and 2012, and others.

Gives us a behind the scenes look in the making of your album Liberté Dans Le Noir.

For the album Liberté Dans Le Noir, it was very spontaneous. When I won the prize from Radio Canada Revelation of the Year (CBC), they gave me three days in the most sophisticated studio in Canada, Studio 12. I wasn’t used to working in a studio with equipment I wasn’t familiar with, so I was exploring all kinds of things. Songs were being created in the studio from a bass line, or guitar, or piano that I started to play. I remember that we didn’t know where we were going, but I wanted to have new experiences. When I finished writing the music, there were no lyrics yet, just “La la la”. At the end, Tiken Jah Fakoly, ‘Mes Aieux’ and myself started writing on the sofa there on scraps of paper. Nothing was finished and everyone was leaving on tour. At that point, Tiken Jah left for tour to France, and it was there that he finished writing his part, me also finished writing in my tour bus.

What words of wisdom would you like to share to someone who wants to embark on a musical career?

One piece of advice I would give to those who want to make a career in music is to be patient. The industry is changing a lot, which diminishes the chances of succeeding, even if you have talent. Be fiercely independent, play one or more instruments. Be capable of doing everything on your own. This will simplify your life.

When was the last time you went to Haiti?

In April 2013, I was on tour with Les Alliance Françaises, and went to Cap Haitien, Gonaives, Jacmel, Les Cayes, Port-of-Prince, Saint Marc, Pétion Ville and Delmas.

What should your fans expect from you next?

I would like to thank Kreyolicious for this interview. I think of my fans a lot, a whole lot—especially when it comes to my new songs that they cherish and the well thought-of lyrics I thought of for them. And I won’t forget the promise I made. I’m going to be performing in Ottawa—CDA—at Bascoche in Gatineau, as well as Richemond, and the Imperial in Quebec, at MCF in Montreal, and in Toronto and Chattam. And I’m going to be touring Nova Scotia in the March. Visit my website often to get all the latest information.

Just like I had promised, I have two albums that are going to be released in Canada and in France this year—one in Creole in my mother and father’s tongue, and second one that’s going to be in French and in English. I’m going to have a lot of featured artists on these albums. My fans, I love you all—I love you very much. I’m coming. Big up! Kinbe Rèd, pa Lage [Hold on tight, don’t let go].

Get to know Wesli and Wesli band a bit better. Visit the singer’s website by CLICKING HERE. Check out his CDs on iTunes.

The funkadelik, laid-back style of Static Gold has made the group one of the hottest Montreal-based bands in Canada. Members Zaya Solange, Samuel Chacp Khon and Daniel Pombo were setting the music scene abuzz even before the band’s debut album Speaking Easy was released late last month.

Zaya Solange, the female lead of the band was born in New York of a Haitian mother. Her lively stage presence is one of the attracting points of Static Gold. Performing the “Tango into Django” on stage, the vocalist sings like she’s the goddaughter of Ella Fitzgerald and dances with the energy of a Tina Turner. Her voice takes on jazz, funk, and R&B on songs like “Sit Back”—without missing a beat.

Zaya Solange and the other members of the trio initially got together in 2012, and fans waited patiently but eagerly for the band’s first album. For Speaking Easy, the vocalist and her team worked with drummer Louis Souverain bassist Thomas Viardot and flutist-saxaphonist Beth Mckenna as well as seasoned musicians Christopher Vincent, Kaz Takasugi, Chris Maskell, Michael Hsu and George Doxas.

Zaya Solange had a convo with Kreyolicious regarding the album and leading the band and of course the album Speaking Easy.

Tell us about yourself.

I’m an artistic person. I love all things that contribute to the world’s beauty, which is one of the reasons why I feel so blessed to be able to make music and share that joy with people. And though I’m really outgoing and love partying with friends, I enjoy solitude surrounded by nature. I like to diversify my experiences. It helps in terms of songwriting and makes life that much more fun.

Music is obviously a big deal in your life. How did the love for it come about?

The love for music was innate for me. I’ve sung ever since I can remember. The first time I sang in front of people was on my very first birthday. I had a mic and everything! My mom still has pictures to prove it.

You are the only girl in the band, what’s it like?

Actually, that has changed recently when Beth Mckenna joined the group as saxophonist. However, I must say working with a mostly male group is quite natural as I’m the youngest of five kids and the only girl. It’s something I hadn’t really considered until I noticed that I was the only one who kept a shirt on during rehearsal when it got really hot during the summer.

Hah. And now for a scenario that could very well happen: after a Static Gold concert, a fan who is also an aspiring singer approaches you. She wants to be just like you and ask for pointers. What would you say to her?

I’d just tell her to continue doing what she loves. To keep in mind that it can be tough at times, but that it is worth it if it truly is a passion. It is important to build thick skin because we are faced with so much criticism, especially when fronting a band. I’d tell her to take the criticism with a grain of salt and use it as a springboard to achieve new heights and perfect the craft. In the end, you just have to stay true to yourself. Authenticity is key; there is no point in trying to be like someone else.

Which musical era has had the most profound effect on you?

Wow, I can’t think of a particular era but it would mostly be between the 1920s and 1990s. There has been so much great music produced in every one of those decades in different genres, it would be hard to choose one.

And any artists in particular?

As for artists, that’s a tough one too. I grew up listening to my mom’s music, so I sang along to Prince, Patti Labelle, Marvin Gaye, Ashford & Simpson to name a few. When I grew old enough to choose my own music, I added artists ranging from Joni Mitchell to the Fugees. I love all music as long as it’s good.

As the face of the band, and its reigning queen, your face and body are always in the spotlight, always under scrutiny. How does that feel?

I used to be a ballerina, so I am used to someone telling me to change something about something. The least positive thing I’ve been told was to show more “underboob” [Laughs] and the most positive was that my legs can compete with Tina Turner’s. So far, so good!

A ballerina. How cool. Have you felt beautiful all your life?

I think that would be impossible considering that beauty is so subjective and is quite a complex concept. Of course I’ve felt insecure growing up—like any other teen and some people actually told me bluntly that I was ugly, but I’ve learned to disregard naysayers. And when I looked at myself in the mirror while dancing ballet, I felt like the most beautiful girl in the world! Even if my instructor thought I had “bad feet” and too big of a derriere. I also noticed growing up that aesthetically pleasing people aren’t always pleasant and therefore kind of ugly. If you are a good person and are happy in your everyday life, it shows. As some say, “A happy girl is a pretty girl”.

What’s next for you and your band?

Hopefully, the moon! People from various cultures really seem to respond to our music so I hope we can travel around and share our music with our fans across the pond. We [have released ] our debut album. To me, it feels like a great start for our journey towards playing on an international platform. Perhaps we can start with our hometowns; Dan is from Colombia, Sam is a French/Swede lad and I’m a Montrealer from New York with roots in Haiti. It would be a golden ride, indeed.

[ Photos: Camila Escobar ]

Check out Static Gold and Zaya Solange on Facebook | Check Out the Band’s Soundcloud| Click Here to Purchase The Group’s Album |