On October 11th, 2026, the MoneyTime podcast posted a MoneyTalk episode featuring Kaysha. With over 20,000 views at the time of this writing, this 169-minute video alternates between Kaysha’s career and his perspective on music as both a culture and an industry… Honestly, I hadn’t planned on commenting on it because I’d already pointed out the confusion in his statements in my article on “The (False) Enemies of Zouk” in February 2026. Three months later, I also wrote an article about “The Real Enemies of Zouk,” where you can see that my business-related analyses align with his. I’m not questioning his vision as an entrepreneur. However, just as in 2021 with his “Yard” interview, the way he expresses himself flirts with bad faith, and he makes statements so patronizing toward “Antillean people” that it’s important to document them, because this podcast is a summary of what people stuck in the early 2000s keep repeating to keep us running in circles. This rhetoric must be left behind in 2026.
Even though there are references to Zouk throughout the interview, I’ll follow the YouTube chapter breakdown to make it easier to understand (and also to give you the freedom to watch the part that interests you).
36:20 - 40:59: Antilles/Congo, Marvin, Perle Lama, culture vulture?
Here we see the media tactics I theorized: the “Africa vs. the Caribbean” war, the distracting off-topic, and the biased “objectivity” tactics. Kaysha employs this combination whenever he talks about his success in Zouk… He is one of the most successful Afro artists. No one publicly disputes this status. Why the need to take a jab at “Antillean people” in passing while claiming that the “Antillean” audience has welcomed him…? It’s a mystery. In the same breath, he’s capable of saying that an artist should pay more attention to the silent majority that supports him rather than to the 100 negative comments he might receive. From a Karukerament perspective, why doesn’t he apply that to what he says in interviews? Who are these people—or even that one person—whose criticism matters so much that he talks about his success as if he were an artist who failed because of “Antillean people”?
The false problem: Everyone does Zouk music; the major labels have rebranded Zouk as “urban pop.”
The real problem: Zouk influences have long been overlooked. That’s a fact. Aside from Aya Nakamura, over the past 20 years, which Afro-French artist has publicly said, “I make Zouk”? On the other hand, they have no problem at all with citing American influences. So why would it be wrong to demand the same respectful treatment that other musical cultures are entitled to? That said, I can understand that the “Fréroterie” [brothahood] with “Antillean people” who don’t know how to set boundaries when being disrespected gives the impression that this demand is coming out of nowhere, that “Antillean people” are exaggerating…
But well-intentioned Afro-French people understand the integrity in publicly saying, “I made a Zouk song”—and, more broadly, any Caribbean musical genre. The fact that this point continues to be called into question in order to highlight a false “Africa vs. the Caribbean” conflict proves that there are still too few Afro-French people willing to publicly recognize our Zouk as a genre that deserves respect just like any other musical genre.
The false problem: “Antillan people” say that African people stole their Zouk.
The real problem: remaining stuck on this idea shaped by the colonial filter, even though there is evidence that collaborations between Africa and the Caribbean have existed for generations, and that audiences on both sides of the Atlantic are what give artists their strength. At this point, it’s almost an insult to the strong musical ties between the two regions, but when I see Kassav’ as the sole “Caribbean” contribution to the music section of the major exhibition on Black Parisian culture, I’m not surprised that this tactic of pitting Africa against the Caribbean persists. Who benefits from this desire to keep “Caribbean people” in a position of inferiority? But let’s move on.
Kaysha always brings up the historical argument that “the Antillean remains an occupied territory,” so that’s supposedly why we don’t tolerate other people making our music… Well, at least, I think that’s his argument. I’m having a hard time following the flow of this discussion.
In any case, Aya Nakamura is the only one who’s openly embraced making Zouk. If your algorithms only show you “people from the Caribbean” attacking her, take a closer look at the content you’re consuming and ask yourself: how much weight do these online comments really carry compared to the “people from the Caribbean” who travel to see her in concert and have supported her since her debut? Aya Nakamura was very well received at her concerts in Guadeloupe and Martinique in 2023. Even Dadju and TayC, who have made problematic public statements against “Antillean” people, also performed concerts in 2024… French media totally fabricated the controversy surrounding Theodora... So why bring up this narrative again—“Antillean people are angry; they say Africans stole their Zouk”—as if we weren’t welcoming everyone, as if we were ruining people’s careers? It’s a mystery.
41:00 - 44:09: respecting the culture
The false problem: Antillean people don’t understand that anyone has the right to make their music as long as they respect it.
The real problem: We don’t share the same definition of respect. There’s widespread contempt toward “Antillean people” because of the colonial filter. This isn’t victimization. Just look at how comfortable the (Afro) media and their guests are with publicly attacking “Antillean people” (and the worst part is when people from our own community help them do it)—but who publicly defends “Antillean people”? There are always people ready to treat us like children. On the other hand, when it comes to addressing the structural problems that Afro-French people perpetuate, where are the analyses? Where are our allies?
For Kaysha, respecting the culture means “bringing money in, promoting other artists, and promoting the culture internationally…” He doesn’t mention the identity element that this culture represents for people from Guadeloupe and Martinique, even though he’s always talking about the history of slavery. Why is it so difficult to incorporate this identity issue into his business vision? I don’t know, but how could those who share his views see the problem any other way than through their colonial filter? The colonial filter claims that “Antillean people are too stupid to create high-quality culture,” that “Antillean people” are incapable of managing themselves and must let others lead them… This view is the exact opposite of Zouk’s foundations as envisioned by Pierre-Edouard Décimus [read my column “Pou Zòt”: Establishing a Caribbean Standard]. Kassav’s philosophy was to give Guadeloupe and Martinique a means of expression, to prove our worth to ourselves in the eyes of others, and to have a tool to take control of our own destiny… Whether the generations that followed just saw our Zouk as an artistic and/or business playground is another matter. And you can worship U.S. rap and R&B all you want, but Black Americans haven’t retained control over the economy of their own music, so I think “Antillean people” deserve a little more leniency regarding their lack of success in the music financial era. Sure, go ahead and call me biased.
Pause: Kaysha says he isn’t interested in the term “cultural appropriation.” “When I see a White woman with braids, I don’t care,” he says... The problem isn’t a White woman with braids. The problem is that a Black woman with braids will be disparaged because braids on Black women aren’t considered a respectable hairstyle. Similarly, making fun of Black women who wear wigs when White women also wear wigs without receiving negative comments—that’s the problem… I took the time to focus on this example because it shows how we don’t see the same issues, so it’s obvious that our interests are incompatible. And that’s okay.
44:10 how we discovered “Kaysha on dit quoi” hit song + Kaysha the child of all african countries and the caribbean
Kaysha admits to using the ambiguous origins strategy. It’s a choice that he and Marvin can afford to make, but we cannot. He acknowledges that he first gained recognition in Martinique, then in Guadeloupe, French Guiana, and later in Africa… This part might have deserved more than just one sentence, just to provide some balance to the argument about the alleged xenophobia of “Antillean people” toward Africans. But let’s move on. His story about “On dit quoi” and his approach to hybrid music were interesting.
1:45:15 zouk/kompa
It took 1 hour and 45 minutes of discussion before a real problem for Zouk artists from Guadeloupe and Martinique was brought up: the lack of marketing.
The false problem: according to Kaysha, there is first and foremost a political reason. Antillean music is a subgenre of French music because the Antilles is still an occupied territory; “they don’t want to give them back their freedom,” so, in the name of Jacobin philosophy, centralization in Paris promotes a national music scene that prevents Antillean music from being highlighted.
The real problem: this is a major historical oversimplification designed merely to drop keywords reminding us that “the people of the Caribbean” were slaves of France and did not fight for their freedom like the Haitians did… If French record labels had wanted to develop expertise beyond their colonial filter, they would have done so over the past 50 years. It’s not necessary to bring up slavery while implying that “people from the Caribbean are submissive” to make this observation. This colonial filter—which comes into play the moment anyone talks about us—is our first obstacle.
The false problem: The major labels coined the term “urban pop” to marginalize music made by non-white artists.
The real problem: Accepting the idea that people from Guadeloupe and Martinique are demanding the right to the same opportunities as other Black people in France. No matter what the major labels say or do, how does that give Afro-French people the right to invisibilize our culture or even publicly despite it? I’ll ask again: aside from Aya Nakamura, who, over the past twenty years, has publicly said, “I made a Zouk song” or “I used Zouk influences because I love Zouk”?
Kaysha brings up what I call “the politics of the arena” [see Myth #2—Caribbean artists need the French industry to create]. It would have been interesting to hear his take on the success of Slaï and Thierry Cham.
The fake real problem: a lack of professionalism.
Clearly, our artists lack the right discipline for this job, but this is common to all creative industries, which are full of people who burn out because they don’t have the right mindset for this line of work… But the way Kaysha phrased it gives the impression that this is a trait specific to “Antillean” artists. There’s no need to resort to the Gossip Girl media tactic to discuss this topic seriously.
I didn’t understand the transition to the audience theme, but what would a discussion about Zouk be without taking a jab at the “Antillean” audience, right?
The false problem: the audience accuses local artists of selling out if they want to sing in French + the illegal consumption of music
The real problem: Black French artists don’t prioritize marketing. They believe that being Black is enough to demand money from the Black audience… But in a capitalist world, who’s going to sell a product without tailoring their marketing to the target audience??? [See: The myth that Caribbean artists must satisfy multiple audiences].
Kaysha accuses the local “Antillean” audience of streaming illegally local music while they spend 300 euros on Beyoncé. Did the “Antillean” audience set the price for streams? Did the “Antillean” audience set up the major labels’ system? Who’s stopping artists from working on their marketing to make people want to spend money on them? Besides, some millennial artists have sustained careers for 20 years, have been headlining concerts in major Parisian venues for the past four years, and Zouk continues to provide a livelihood for artists through showcases. In what way is the “Antillean” audience failing to fulfill its part of the bargain within the limits imposed on it?
The false problem: Do you want to stay in a niche or do you want to branch out?
The real problem: Zouk doesn’t have a niche audience [see my #streamcaribbean discussion with DJ Josh]… Artists from Guadeloupe and Martinique MAY have a niche audience (I say “may” because when I see how White people get hyped during the “Antilles” sets at mainstream festivals in France and abroad… Are they really niche? Anyway.). Zouk doesn’t have a niche audience. It’s the “peti péyi” mentality that makes you say that because you’re belittling the Afro audience as a whole. If we go by your “only the numbers matter” criterion, from the moment Zouk tracks by Afro-French artists started receiving certifications, Zouk ceased to have a niche audience. And continuing to view it as a niche genre is what’s preventing its growth. That’s not the audience’s responsibility—it’s the artists’. That’s my Karukerament take on it. Let’s agree to disagree.
Kaysha discusses the growth of kizomba and how his suggestions for promoting Zouk were rejected. On a personal level, I understand how frustrating that must have been. From a business standpoint, his idea of festivals and boy bands clearly shows that he doesn’t grasp at all the sense of identity that Zouk represents for us. Especially at the time he’s talking about. He says he got a slap on the wrist and was told, “Zouk is ours” and that he understands in light of history (implying the history of slavery, I suppose)… In the end, who stopped him from carrying out this idea? And he can still do it with his AI artists.
I’ll set aside what he says about Haitian people who have their own flag and love it when others play konpa. Seriously, that’s an unecessary jab to Guadeloupe and Martinique. I’m serious when I say: show me—publicly—a Zouk authority figure who doesn’t say, “We’re happy that our Zouk has traveled the world. It’s a source of pride.” When exactly did we tell others not to sing Zouk? When exactly did we stop others from singing Zouk? Or are we just harping on this idea based on comments from random people on social media or from PRIVATE WhatsApp chats?
Kaysha uses the example of American rap, which has been exported. Once again, this is a huge oversimplification that fails to take into account the historical and geopolitical context of the second half of the 20th century. If we stick with the rap example, Canadian artist Drake has dominated rap sales for years, yet he’s still considered a guest in the rap world because he hasn’t earned the kind of legitimacy that everyone agrees on. So, numbers aside, if Kendrick Lamar is the authority figure telling him he’s “Not Like Us,” on what grounds couldn’t Zouk authority figures tell him, “Zouk is ours”? Did that destroy Drake’s career? No. Was Kaysha’s career destroyed? No. If it caused him problems, he’s free to talk about it, but for now, his successes are celebrated, his voice is valued, and the stories he shares only paint him in a positive light. If Zouk’s leading figures didn’t listen to him, so what?
1:59:15 kizomba’s growth
The false problem: Zouk has lost out to kizomba.
The real problem: thinking there’s no hope left for our Zouk just because we didn’t follow Kaysha’s strategies when he wanted us to. I fully understand that he’s faced contempt throughout his career. His emotions are legitimate. Perhaps by continuing to talk about it in interviews, he’ll eventually find peace in his heart… Who knows?
But from a business perspective, I’ll say it again: his interviews contain successful marketing and promotional strategies that fail to take into account the identity element for people from Guadeloupe and Martinique, so they’ll never be applicable as he describes them. And he knows this very well. His expertise remains valid but cannot be considered the only possible perspective.
Kaysha and the other Afro-French Zouk artists can afford to separate the business of Zouk from the culture of Zouk. For people from Guadeloupe and Martinique, this is clearly not the path to follow. By stripping away the identity element, this is where we find ourselves today: artists from Guadeloupe and Martinique embracing every musical genre except Zouk because their self-esteem is at rock bottom. Fake debates that should have remained in 2025 about Zouk in French vs. Zouk in Creole, Retro Zouk vs. contemporary Zouk, “true” Zouk vs. the overly boring “Zouk Love,” and cultural appropriation vs. cultural appreciation. On top of that, we have to listen to interviews with talented artists who treat their body count as a joke instead of explaining at length why Zouk makes their heart beat.
In conclusion, here’s a few things I hope we’ll leave behind in 2026:
the systematic infantilization—or even denigration—of the “Antillean” audience. Give us a break.
the “bro culture” that makes our artists and content creators accept anything and everything in the name of an illusory solidarity that isn’t even reciprocated.
the fatalism surrounding our Zouk… WhatsApp debates should stay on WhatsApp. The remixers of 2021 are asked to make their money quietly instead of perpetuating this negative image of Zouk and, more generally, of “Antillean people.” The current reality is that the creative and cultural industries in other countries are capitalizing heavily on nostalgia for the ’90s and 2000s. There’s no reason why our Zouk can’t benefit from this. Anyone with even a modicum of expertise in the music industry won’t disagree with me on this point, at least. Adopting this negative, counterproductive rhetoric—or associating with those who do—is a choice that everyone is free to avoid.
This article was meant to highlight, once again, the mechanisms of the colonial filter in the media landscape. Some crazy stuff was said in 2026, but I’m tired of repeating the same things. We’ve reached a point where I could just copy and paste paragraphs from one article to another. So I consider this my 2026 media recap. I hope that artists motivated to change things will stay focused on the real issues in 2027 as stated in my three-part series “Zouk Uncovered”. The day we apply the fundamentals of branding, storytelling, marketing, and media training, we’ll leave the dynamics of the 20th century behind and elevate our Zouk to the status of 21st-century international pop music.
