There is a misconception when streaming a band live.

By Haitianbeatz

Live streaming should be a powerful tool for the Haitian Music Industry, but the way many people use it right now is pure chaos. Too often, someone shows up with a camera, sets up, hits "Go Live", and walks away with all the online benefits from an event they didn’t plan, didn’t pay for, and didn’t build.

That is not promotion. That is someone cashing in on your investment.

Streaming Someone Else’s Event Is Not Innocent Promotion

Picture this very real situation.

You, as a promoter:

• Hire two bands and sign contracts.

• Pay the venue, security, sound, and lighting.

• Pay for flyers, social media ads, and radio promo.

• Take the full risk that if the event flops, you lose money.

Then a streamer walks in:

• No call.

• No clearance.

• No agreement.

He sets up his tripod and laptop, locks into the mixer, and streams the whole show live on Facebook or YouTube. Later, he uploads the video to his channel, turns on monetization, and collects ad revenue or donations.

You covered all the risk.He walks away with online content that will keep making him money while you are still trying to pay back the venue.

People like to say, "But he is promoting your event."No. The event already happened. The promotion period is over. At that point, he is using your product as his content.

That is like someone filming a movie you produced on their phone, uploading it to their channel, then telling you, "Relax, I’m promoting you."

It does not work in any serious industry.

The Super Bowl Analogy: Who Really Pays Who?

The Super Bowl example makes this very clear.

When the NFL organizes the Super Bowl:

• It books the stadium.

• Handles production and logistics.

• Pays staff, security, and operations.

• Builds the brand value of "Super Bowl Sunday".

FOX does not just show up with cameras and broadcast it for free. FOX pays the NFL huge money for the right to broadcast the game.

Then FOX turns around and sells ad slots to brands:

• 30-second commercials during the game.

• Sponsored segments and pre-game shows.

• Branding packages and integrations.

Everyone understands the order here:

1. The NFL owns the event and the product.

2. The broadcaster buys rights to use that product.

3. The broadcaster makes money from ads and sponsors.

In the Haitian Music Industry, many people flip this logic. They act like the streamer is doing the promoter a favor, when in reality, the promoter is giving away a free TV show.

If FOX cannot walk into a Super Bowl without a deal, why is some random page allowed to walk into your event and stream your bands without one?

Who Owns The Rights To The Live Show?

A big part of the confusion in the HMI is about who actually owns what during a live performance.

At a typical show, there are three main players:

• The promoter, who produces the event.

• The bands or artists, who perform and own their music.

• The venue, which provides the physical space.

If you are the promoter, you are the one who created the live "experience":

• You picked the date and location.

• You paid the bands to perform.

• You organized the technical side so the show could exist.

That live experience has value, both in-person and online.

The band owns its songs and its brand, but the event you built is your product. A streamer who broadcasts it from start to finish is not just capturing sound. He is capturing the full show that you packaged and paid for.

So when a streamer:

• Walks into your event without approval,

• Streams full performances to his page,

• Then uploads the replay and turns on monetization,

he is using your paid event as his content library.

That is where the HMI often gets it twisted. Many people treat live events like they are public property as soon as the doors open. They are not. There are business rights involved, just like in sports, movies, and major concerts.

How The Current Streaming Culture Hurts Promoters, Bands, And The Scene

People like to say, "Streaming helps exposure." That is only half the story. Uncontrolled streaming creates real damage that most people never count.

Here is what actually happens when anyone can stream anything:

• Promoters lose leverage

  
  

  If fans know they can just watch the whole show at home for free, some will not buy tickets. You carried all the cost, but the online crowd went somewhere else.

• Bands lose control of their image

  
  

  Bad audio, shaky video, and poor lighting end up on YouTube forever with their name on it. That cheap recording may be the first impression someone has of the band.

• The content gets scattered

  
  

  One event might end up split across ten random pages. No central channel grows in a serious way. It is just small views on small pages.

• Real broadcast deals never grow

  
  

  Why would a serious media partner pay to cover your event when they see five streamers get it for free? That kills any chance of building proper, paid broadcast rights.

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The HMI says it wants structure and progress, but then it treats events like open buffets where anyone with a phone can serve themselves. That is backward business.

How Streaming Should Actually Work In A Professional Setup

Streaming is not the enemy. The problem is how it is done.

In a serious model, live broadcasting looks more like this:

1. Promoter controls the rights

   
   

   Before the event, the promoter decides:

   • Will we stream this?

   • Who will be our official streaming partner?

   • What format and what platforms make sense?

2. Broadcaster makes a deal, not an assumption

   
   

   A media platform that wants to stream the show should:

   • Contact the promoter in advance.

   • Talk about rights and restrictions.

   • Agree on revenue or promo terms.

3. Everyone knows the agreement

   
   

   The promoter, bands, and broadcaster are clear on:

   • Who owns the stream and the replay.

   • Where the replay lives.

   • How ad money or sponsor money is shared.

4. The audience gets a clean, official show

1. 
   

   The stream looks and sounds good. There is one trusted place to watch it. Sponsors feel safe putting their name on it.

   
   

When that happens:

• The promoter benefits from ticket sales and from streaming deals.

• The bands get quality content and real exposure.

• The broadcaster earns from ads without stealing anyone’s investment.

Everyone plays their role, like the NFL and FOX example.

What HMI Promoters And Streamers Should Start Doing Right Now

If you are a promoter, you need to stop treating your event like a public park and start treating it like a product.

Simple steps:

• Put "No unauthorized streaming" in your flyers and contracts.

• Give one official media partner the right to stream, even if it is your own page.

• Set clear areas where filming is or is not allowed.

• If someone sets up without permission, tell them to stop or leave.

If you are a streamer or media page and want access:

• Reach out to the promoter before the event.

• Offer a clear deal: coverage, edits, tags, and what you expect in return.

• Respect "no" when the promoter says no.

• Act like a partner, not like a pirate.

The Haitian Music Industry will not move forward while people treat live events like a free-for-all. Until everyone starts thinking in terms of rights, structure, and mutual benefit, we will keep doing things backward and missing real money that is on the table.