The release of the album LAS (Lalin Ak Solèy) by the band Zafem marked a pivotal moment in the modern history of the Haitian Music Industry (HMI). Within this collection of tracks, the song “Coming Soon” stands out as a unique fusion of pop sensibilities and traditional Konpa Dirèk rhythms.
While many songs in the genre focus heavily on dance-floor grooves, this track prioritizes a frantic, emotional narrative driven by the vocal prowess of Reginald Cangé and the sophisticated production of Dener Ceide.
The song serves as a poignant expression of deep longing, a yearning for presence, and a desperate cry for connection. It captures the universal anxiety of a relationship teetering on the edge of collapse, where one partner is racing against time to salvage what remains.
The track distinguishes itself through its bilingual delivery, seamlessly weaving English verses with a soulful Haitian Creole (Kreyòl) chorus, making it accessible to a global audience while remaining deeply rooted in Haitian culture.
Listeners are drawn not only to the infectious melody but also to the vulnerability displayed in the lyrics.
This article explores the thematic depth, musical composition, and linguistic nuances of “Coming Soon,” dissecting how Zafem uses tempo and lyrical repetition to paint a vivid picture of a man on a quest to close the emotional and physical gap between him and his beloved.
The Narrative Arc: A Race Against Time
The lyrical structure of “Coming Soon” is built around the concept of urgency. From the opening lines, the protagonist establishes a scenario of physical movement and high stakes. Phrases like “speeding my heart’s racing like crazy” and “rushing to see you” create a cinematic atmosphere.
The listener can visualize the protagonist in a vehicle, navigating traffic or distance, fueled entirely by the fear of losing his partner. This is not a passive song about missing someone; it is an active declaration of intent to fix things immediately.
This narrative device—the race against time—is a common trope in romantic literature and film, but it is less common in Konpa, which often favors slower, more seductive storytelling known as gouyad. Here, the tempo matches the anxiety of the lyrics.
The protagonist is aware that his partner is on the verge of leaving, indicated by the line “Don’t leave where you are.” This plea suggests a precarious situation where mere minutes could determine the future of the relationship.
The repetition of “I need you right now” emphasizes the immediacy of the crisis. It is not a request for a future meeting or a planned date; it is an emergency intervention of the heart.
This intensity transforms the song from a standard love ballad into a high-energy anthem of desperation, resonating with anyone who has ever felt the panic of a potential breakup.
Linguistic Duality: English Verses and Creole Soul
One of the most strategic elements of “Coming Soon” is its code-switching between English and Haitian Creole. The verses, sung primarily in English, cater to the vast Haitian diaspora and international listeners who may not be fluent in Kreyòl. This choice allows the narrative context—the speeding car, the misunderstanding, the request for the partner to stay put—to be understood by a wider demographic. It positions Zafem as a band with global crossover potential, breaking the language barrier that often confines Konpa to specific markets.
However, when the song shifts to its emotional core, it transitions into Haitian Creole. The lines “M pa vle wè bae” and “Nanpwen mwen san li” (There is no me without her) carry a weight that English might not fully convey in this musical context. In Haitian culture, the Creole language is often viewed as the language of the heart and deep emotion. By reserving the most vulnerable confessions for Creole, Cangé taps into a deeper level of cultural authenticity.
The phrase “Zanj yo pwoteje’l sere’l yon kote” (May the angels protect her and keep her safe somewhere) introduces a spiritual dimension to his love. It suggests that his concern goes beyond his own selfish desire to be with her; he is invoking divine protection over her well-being.
This shift from the frantic energy of the English verses to the spiritual, protective nature of the Creole bridge demonstrates the complexity of the protagonist’s feelings.
Musical Composition and Production Techniques
The production quality of “Coming Soon,” helmed by the multi-instrumentalist Dener Ceide, showcases a modern evolution of the Konpa genre. Traditional Konpa often relies heavily on a specific kick-drum pattern and a cowbell (gong) rhythm. While these elements are present, they are polished with pop-influenced synthesizers and a driving bassline that propels the song forward. The instrumentation mirrors the lyrical theme of “speeding.”
The arrangement avoids the monotony that can sometimes plague dance music. There are distinct sections: the urgent verses, the melodic chorus, and the instrumental breaks that allow the guitar work—a signature of Ceide’s style—to shine. The guitar riffs are clean, melodic, and rhythmic, interlocking with the keyboards to create a rich sonic tapestry. This complexity ensures that the song appeals to musicians who appreciate technical skill as well as casual listeners looking for a catchy hook.
Furthermore, the mixing of the track places the vocals front and center, ensuring that the emotion in Cangé’s voice is never buried under the instrumentation.
The balance between the digital elements and the live instrumentation (drums, guitars, horns) creates a sound that feels both organic and futuristic, fitting the album’s title LAS (Moon and Sun), which implies a balance of opposing forces.
Vulnerability and Masculinity in HMI Lyrics
Historically, many songs in the Haitian Music Industry portray men as confident seducers or victims of deceitful partners. “Coming Soon” subverts some of these tropes by presenting a male protagonist who is openly confused and vulnerable.
The refrain “Mi dunno what to say, Mi dunno what to do” captures a state of paralysis that contradicts the physical speed of the verses.
While his car is moving fast, his mind is spinning in circles.
This admission of cluelessness is significant. It humanizes the singer, stripping away the facade of the “player” often found in Caribbean music. He admits that he misread the signs: “Last time I saw your face, I could tell that you needed some space.” This retrospective realization adds a layer of regret to the track. He acknowledges his past failure to communicate or read the room, and his current rush is an attempt to correct that error.
The vulnerability extends to the line “Nanpwen mwen san li” (I am nothing without her). This is an existential declaration. It suggests that his identity is so wrapped up in this relationship that the prospect of its end threatens his very sense of self. This level of emotional exposure allows listeners to connect with the song on a psychological level, moving beyond simple entertainment.
The Cultural Phenomenon of Zafem
To fully understand the impact of “Coming Soon,” one must understand the context of the band Zafem. Formed by two titans of the industry—Reginald Cangé (formerly of Zenglen) and Dener Ceide (a prolific producer and former Tabou Combo musician)—the band was highly anticipated long before their debut.
Their union represented a “supergroup” scenario that promised to elevate the standard of Haitian music.
When LAS was released, it was not just an album drop; it was a cultural event. “Coming Soon” played a crucial role in this success because it served as a bridge track. While other songs on the album dug deep into traditional folklore or complex social commentary, “Coming Soon” offered a radio-friendly, accessible entry point.
It helped the album sustain momentum on streaming platforms and in international markets.
The song also reinforces the band’s philosophy of “musical excellence.” In an era where many artists rely on programmed beats and auto-tune, Zafem emphasizes musicality. The performance of “Coming Soon” requires vocal agility and instrumental precision. It sets a benchmark for what modern Konpa can sound like—polished, emotional, and technically proficient.
Interpreting the “Saving Grace”
A critical lyrical moment occurs when the protagonist mentions, “You had a few things to say, That could’ve been our saving grace.” This line implies a missed opportunity for communication. It suggests that the breakup wasn’t inevitable; it was the result of silence or ignored grievances. The “saving grace” would have been an honest conversation that never happened.
This adds a tragic element to the song. The urgency the protagonist feels now is a reaction to his previous inaction. He is trying to outrun the consequences of the past.
The phrase “Now you wanna part ways, but You say you don’t believe in fate” introduces a philosophical conflict. The partner wants to leave based on practical reasons or unhappiness, rejecting the idea that they are “destined” to be together. The protagonist, conversely, is fighting for that destiny.
This conflict between pragmatism (the partner leaving) and romantic idealism (the protagonist rushing to save the relationship) creates the central tension of the track. It is a relatable struggle between the head and the heart, played out over a driving, irresistible beat.
FAQ: Understanding Zafem’s “Coming Soon”
What is the main genre of the song “Coming Soon”?
The song falls under the genre of Konpa Dirèk (often just called Konpa), which is the modern meringue dance music of Haiti. However, “Coming Soon” infuses this traditional rhythm with elements of pop, R&B, and world music.
The production features the signature guitar plucking and percussion of Konpa but utilizes a song structure and melody that appeals to a broader pop audience.
Who are the key members of Zafem?
Zafem is fronted by two prominent figures in the Haitian Music Industry: Reginald Cangé and Dener Ceide. Reginald Cangé is celebrated for his powerful, emotive vocals and energetic stage presence. Dener Ceide is a highly respected guitarist, songwriter, and producer known for crafting the sound of numerous hit songs across the industry before forming this group.
Why does the song switch between English and Creole?
The bilingual nature of the song serves a dual purpose. The English verses make the narrative accessible to second-generation Haitians and non-Creole speakers, expanding the band’s reach. The Creole chorus and bridge ground the song in its cultural roots, allowing for deeper emotional expression that resonates with the core Haitian audience. It reflects the reality of the diaspora, where both languages often coexist.
What is the album LAS?
LAS is an acronym for Lalin Ak Solèy, which translates to “Moon and Sun.” It is the debut studio album by Zafem.
The album is widely regarded as a masterpiece in modern Haitian music for its sophisticated arrangements, poetic lyrics, and the way it blends traditional rhythms with contemporary sounds. “Coming Soon” is one of the standout tracks from this project.
What is the meaning behind the line “Nanpwen mwen san li”?
This phrase translates from Haitian Creole to “There is no me without her” or “I do not exist without her.” It is a hyperbolic expression of deep attachment and dependency. In the context of the song, it illustrates the protagonist’s desperation; losing his partner feels equivalent to losing his own existence, which fuels his frantic rush to reach her.
Is “Coming Soon” considered a slow jam or a dance track?
It occupies a middle ground often found in Konpa. While the lyrics are heavy and emotional, the tempo is upbeat and danceable. It is fast enough to dance to at a party but melodic enough to listen to for the story. The rhythm drives the song forward, matching the “speeding” theme of the lyrics, making it energetic rather than a slow ballad.
