I’ve seen The Lion King on Broadway at least three or four times. Each time, I noticed something most people miss, the orchestra wasn’t exactly the same. A few musicians changed from one visit to the next, and the show still sounded powerful.
Then I went to see Les Misérables and recognized many of the same players again. That also made sense. Some productions keep a steady group, while others rotate more often.
So why does it turn into a scandal in parts of the Haitian Music Industry (HMI) when a musician plays with another band? Why do some fans and leaders treat a side gig like betrayal? That mindset doesn’t protect Haitian music, it limits it. It also hurts the very people who make the music sound great.
This article breaks down why rotating musicians is normal in professional scenes, how the “he played with them” stigma harms the HMI, and what a healthier, more professional culture could look like.
Broadway shows the normal rule: the gig is the gig, not a lifetime contract
Broadway works because it’s built for real life. People get sick, take vacations, book other work, or need a night off. So the system plans for rotation.
Most big productions use a mix of regular players, alternates, and subs. Someone (often a contractor or music team) makes sure every chair is covered by a qualified person. The goal is simple, protect the show, not control the musician.
At the same time, stability can happen too. If you saw the same musicians at Les Misérables, that’s not strange. Some players stay for long runs. Others keep the same schedule for years because it fits their life. The key point is that nobody treats a sub like a traitor. People treat it like work.
A strong music scene isn’t built on fear. It’s built on trust, preparation, and clear dates.
Why you might see different musicians in the same show
Rotation happens for normal reasons, not drama. First, there can be multiple casts and split schedules. Next, musicians take planned time off, just like anyone else. Illness also happens, and no one should perform sick if a sub can cover.
Double booking is another reason. Many orchestra players freelance, so they take other jobs when they’re available. In addition, touring and special events can pull a player away for a short period. Because the production expects this, it keeps a list of capable subs who can step in without lowering the quality.
That’s why the audience still gets a great show. The system respects the music enough to plan ahead.
The difference between loyalty and professionalism
Loyalty in music should mean you show up ready, you respect rehearsals, and you honor your commitments. It shouldn’t mean you refuse all other work forever.
Professionalism is simple: communicate early, keep your word, and don’t create surprises. A musician can be committed to a main band and still freelance. They just need clear scheduling and honest talk about conflicts.
In other words, loyalty is about behavior, not ownership.
In the HMI, the “he played with them” stigma hurts the music and the people making it
In parts of the HMI, a musician playing with another band can trigger gossip fast. Fans pick sides. Band leaders feel disrespected. Other musicians may join the judgment because they fear being next.
Calling this a “backward mentality” isn’t an attack on Haitian culture. Haitian culture is rich, creative, and proud. The problem is a harmful habit that grew inside the industry, often tied to insecurity, money stress, and status battles. Still, the results are real.
When cross-band work looks like betrayal, musicians start moving in silence. They hide gigs. They avoid honest talks. Then trust breaks down even more.
Meanwhile, the audience loses too. Great bands get stuck with limited options, even when a better fit is available for a show or a recording date. Instead of celebrating talent, people police it.
How “band ownership” thinking blocks a musician from earning a living
Musicians have bills like everyone else. They also have extra costs, such as strings, sticks, cables, repairs, lessons, and travel. A weekend gig can pay for gear, rent, or a child’s school needs.
Now picture this. A musician’s main band has no booking this weekend. Another band offers a paid gig. In a healthy market, the musician says yes, then shows up on time and plays their best. In a restricted culture, they might say no because they fear backlash, being labeled disloyal, or losing their “spot.”
That’s not loyalty, that’s forced exclusivity, and it keeps players underpaid.
A simple comparison makes the problem clear:
“Owned by a band” mindset
Freelance professionalism mindset
You sit home to avoid talk
You take gigs if dates don’t clash
Based on who you play with
Based on how you play and act
Built through planning and trust
The takeaway is straightforward: when musicians can work, they grow, and the whole scene gets stronger.
What the industry loses when musicians cannot move freely
Restricting musicians doesn’t only hurt their wallets. It also shrinks the sound of the whole industry.
First, collaboration drops. Fewer players cross-pollinate styles, so bands repeat the same patterns. Next, live quality can suffer because leaders avoid using subs, even when a regular member can’t make it. Then rehearsals and recordings slow down because the “approved” circle is too small.
Mentorship also takes a hit. In many music cities, younger players learn by sitting in and gigging with different groups. When the HMI discourages that, growth becomes harder.
Finally, promoters and international partners notice. They prefer scenes where musicians act reliably and can fill a chair without drama. Flexibility looks professional. Chaos looks risky.
Obed Calvaire is the model: Haitian talent can win by playing at the highest level anywhere
A clear example helps. Haitian-American drummer Obed Calvaire has built a reputation in the US as a highly respected working musician. He shows up, he plays at a high level, and he moves between different artists and projects.
That’s how many top careers work. The scene doesn’t ask, “Why are you playing with them?” It asks, “Are you prepared, and can you deliver tonight?”
This matters for Haitian musicians because it proves something important: playing with multiple bands doesn’t lower your value. Often, it raises it. More gigs mean more experience, better time, and stronger musical instincts.
Why top musicians work with many artists
Working musicians often juggle different types of calls. One month might include studio sessions. Another month might include a short tour, a festival date, or a TV performance. Some gigs last weeks, others last one night.
The best players get called back for simple reasons. They learn the music fast. They keep a good attitude. They respect the bandleader’s direction. Most importantly, they honor the calendar.
That’s the standard the HMI should reward, because it creates better shows and better musicians.
A simple analogy: a painter is not owned by one museum
Think about a painter. A museum can feature their work, promote them, and even help build their name. Still, the museum doesn’t own the painter’s hands.
The painter might show work in Miami this month and New York next month. Each show adds to their story and skill. Music works the same way. A band can be your “home,” but it shouldn’t be your cage.
A musician is a professional providing art and service. As long as dates are respected, nobody should be punished for working.
A healthier way forward: protect bands and protect musicians at the same time
The goal isn’t to copy Broadway. Haiti has its own culture, business realities, and crowd energy. Still, the HMI can borrow one idea that works everywhere, clear expectations reduce drama.
Bands deserve reliability. Musicians deserve freedom to earn. Both can be true if people plan better and treat gigs like real work.
Make expectations clear with simple agreements and shared calendars
Most problems start with vague rules. “You’re with us” can mean anything, so people fill in the blanks with emotion.
Instead, bands can do simple things that cost nothing. Confirm dates early. Put holds in writing, even if it’s a text thread. Define what “first call” means (for example, you get asked first, but you don’t block the musician’s other work forever). Also, plan for subs before you need them.
A shared calendar helps too. When everyone sees the dates, jealousy drops because surprises drop.
Pay and credit musicians in a way that encourages professionalism
Fair pay changes behavior. When musicians get paid on time, they don’t feel forced to hide side work. When bands credit players properly for live shows and recordings, respect goes up.
Transparency matters as well. If there’s a split, explain it. If the gig pays less, say why. If someone is expected to rehearse more, pay or plan accordingly. Treating musicians like professionals encourages them to act like professionals.
Seeing different musicians in a Broadway pit is normal, and it doesn’t weaken the show. In the same way, a Haitian musician playing with another band shouldn’t be treated like a scandal. No one should be enslaved to one band, especially when the main band is off and bills still exist.
If the HMI wants to grow, the culture has to reward preparation, communication, and performance, not control. Band leaders can set clear dates and fair rules. Fans can stop treating collaboration like betrayal. Musicians can honor commitments while still taking work that helps them build a real career.
The next time you see a familiar player on another stage, ask a better question: did they show up ready, and did they make the music feel alive?
