A Tribe Called Red

A Tribe Called Red
Name	A Tribe Called Red
Origin	Ottawa, Ontario
Genres	Electronic music, Hip hop music, Indigenous music
Years active	2008–present
Labels	Oberlin College Press

A Tribe Called Red is a Canadian electronic music project that blends electronic music, hip hop music, and First Nations musical elements to create a genre often labeled as "powwow-step." Formed in Ottawa in 2008, the group became notable for fusing traditional powwow vocals and drum rhythms with modern production techniques and for engaging with issues affecting Indigenous peoples across Canada and internationally. Their work has intersected with festivals, visual artists, activists, and institutions, expanding dialogues around cultural appropriation, sovereignty, and representation in contemporary music.

History

The project began in Ottawa when members met through local scenes connected to Wabano Centre for Aboriginal Health and Carleton University events, drawing attention at venues such as Club Saw and festivals like Ottawa Bluesfest and Canadian Music Week. Early releases circulated on platforms used by SoundCloud and independent distributors, leading to appearances at NXNE, Osheaga Music and Arts Festival, and RBC Bluesfest. As the group toured, they collaborated with artists affiliated with Manitoba, Saskatchewan, and Nunavut communities, and engaged with institutions including the National Gallery of Canada and Smithsonian Institution for multimedia projects. Their trajectory included activism-aligned performances at rallies and commemorations connected to events like the Idle No More movement and commemorations related to Residential schools legacies.

Musical Style and Influences

The sound melds sampled powwow drumming, vocal chant samples from Anishinaabe, Cree, and Mi'kmaq singers, DJ techniques associated with turntablism and producers influenced by Diplo, DJ Shadow, and Moby, plus bass-heavy elements found in dubstep and drum and bass. Influences extend to Indigenous songlines and heritage linked to communities across Ontario, Manitoba, Alberta, and Quebec, while drawing on club cultures present at venues like The Guvernment and festivals such as Coachella and Glastonbury Festival. The group has cited dialogues with artists and collectives including Anohni, Björk, K'naan, and Dead Can Dance as shaping approaches to sampling, arrangement, and multimedia staging. Their production practices reference technologies from Ableton Live to analog techniques used by figures such as Brian Eno and Aphex Twin.

Members and Collaborators

Core membership has included DJs and producers from diverse Indigenous backgrounds who engaged with community elders and guest vocalists. Collaborators have encompassed performers and producers from Toronto, Montreal, Vancouver, and international artists who have worked with institutions like the Banff Centre for Arts and Creativity and Canadian Broadcasting Corporation. Guest artists on recordings and tours have included singers connected to Six Nations of the Grand River, drummers from Manitoulin Island, hip hop artists associated with Native Deen and Krazy Baldhead, and visual artists who exhibited at Tate Modern and The Power Plant Contemporary Art Gallery. The group’s live roster has featured dancers, multimedia directors from NFB (National Film Board of Canada), and orchestral arrangers who collaborated with ensembles linked to Toronto Symphony Orchestra for special projects.

Albums and Notable Releases

Major releases and projects drew attention from critics and award bodies. Studio albums and EPs circulated alongside multimedia pieces presented at venues such as Carnegie Hall and Ryman Auditorium. Singles sampled archival recordings from collections held by Library and Archives Canada and the British Library Sound Archive, and included remixes by producers associated with Ninja Tune and Warp Records. Recordings have been issued in formats showcased at fairs like South by Southwest and platforms affiliated with BBC Radio 6 Music, receiving coverage in outlets such as The Globe and Mail and Pitchfork. Their catalog bridged grassroots cassette culture, vinyl releases promoted through Rough Trade Records-style distributors, and digital drops on playlists curated by Spotify and Apple Music.

Live Performances and Tours

The ensemble cultivated a reputation for high-energy sets combining DJ mixing, live drums, and projected visuals; notable performances occurred at Sundance Film Festival screenings, Toronto International Film Festival events, and headline slots at Sasquatch! Music Festival and ImagineNATIVE Film and Media Arts Festival. Tours encompassed North American circuits including dates in New York City, Los Angeles, San Francisco, and Canadian dates across Winnipeg, Edmonton, and Halifax. International engagements brought them to stages in London, Berlin, Melbourne, and Auckland, with collaborative residencies at The Banff Centre and appearances in exhibitions at the Metropolitan Museum of Art and Museum of Contemporary Art, Chicago.

Awards and Recognition

Their work received recognition from major award bodies and cultural institutions, with nominations and wins at ceremonies such as the Juno Awards, selections for panels at SXSW, and honors from provincial arts councils in Ontario and Alberta. Critical acclaim included profiles in Rolling Stone, The New York Times, and awards from Indigenous arts organizations and media outlets, as well as invitations to speak at conferences hosted by Harvard University, University of British Columbia, and University of Toronto on topics connecting music and Indigenous cultural revitalization.

Category:Canadian electronic music groups Category:Indigenous Canadian musicians