This chapter considers the link between the messages conveyed in compas and the configurations of gender in Haiti. Practised mostly by men since the 1950s, this urban musical genre conveys representations of Haitian women’s and men’s daily realities by becoming a secondary socialization space that facilitates the circulation of gendered social norms. Building upon Tricia Rose’s (The Hip Hop Wars: What We Talk About When We Talk About Hip-Hop. Civitas Book, 2008) conceptualization of hip-hop as a narrative space, I similarly interpret compas music as a narrative domain that shapes social connections, cognitive frameworks, and self-perception. Within this domain, the discourse articulated through its songs functions as performative speech acts, embodying the potential to actualize the very actions they describe (Butler, Le Pouvoir des mots, Politique du performatif, (Excitable Speech, A Politics of the Performative), 2004). In this context, Haitians need to be aware of what they are consuming in terms of musical narratives, given that narratives in general support the actions of individuals. This study will be grounded in a comprehensive discographic corpus comprising over one hundred songs released from the 1960s to 2023. The inclusion criteria for these songs are their thematic relevance, particularly in relation to constructs of masculinity, femininity, romantic relationships, and sexuality.