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Since its inception in the 1980s, solidarity has been one of the structuring elements of Haitian hip-hop. In this sense, what an artist could not do on his own for lack of financial means, peer groups enable him to achieve. Given Haiti's precarious socioeconomic context, the possibility of mobilizing more friends and colleagues makes it easier to cope with financial worries and other difficulties. Drawing on material from 36 in-depth semi-structured interviews, this chapter examines practices of solidarity and mutual aid in the world of hip-hop in Port-au-Prince. Drawing on Becker's theory of the art world and Soulet's theory of solidarity, this chapter analyzes the artistic practices through which rappers develop forms of solidarity and mutual aid to cope with various financial and social difficulties. I seek to understand the way rappers organize themselves, which can be likened to the Haitian konbit, a form of solidarity that emerged in the aftermath of independence and continues to this day. This study shows that hip-hop strengthens the social bonds between rappers in working-class neighborhoods, where lifestyles are based on solidarity and mutual aid.