A groundbreaking musical collaboration transcending cultural boundaries and featuring a diverse assembly of Indigenous and non-Indigenous artists is arriving in Ottawa on Jan. 19. The Northern Cree powwow group, Shannon Thunderbird, Duke Redbird and Sultans of String are uniting to present their album, Walking Through the Fire at Centrepointe Meridian Theatre.
The album and show, inspired by the Truth and Reconciliation Commission’s (TRC) 94 Calls to Action, responds to the TRC’s call for unity between Indigenous and non-Indigenous artists.
The Charlatan sat down with Marc Meriläinen (Nadjiwan), an Ojibwe-Finnish singer-songwriter featured on the album, and Chris McKhool, Sultans of String bandleader and violinist, to discuss the album.
The Charlatan (TC): What sparked the creation of Walking Through the Fire?
Chris McKhool (CM): [The Sultans of String have] been together for almost two decades. Each album is like a series of escalating dares, like let’s make the next album even more awesome, broad and deep than the last. During the pandemic, we released two albums, Refuge and Sanctuary, honouring the contributions of new immigrants and refugees to Canada. The first song on Refuge was almost like a land acknowledgement. It was a beautiful collaboration with Dr. Duke Redbird and a poem he wrote called “The Power of the Land” that we set to music.
As I was winding down after that project, Duke said to me, “So Chris, when are you going to do Indigenous awareness, what you did for awareness of new immigrants and refugees?” It was a direct call to action.
TC: How were Truth and Reconciliation narratives translated into the album?
Marc Meriläinen (MM): The song I wrote for this project is “The Beautiful Darkness,” which conveys a universal message. I composed it during the lockdowns when, in the broader human context, we were collectively experiencing a sombre period heightened by social tensions and polarization, exacerbated by social media and politics.
Throughout my 30-year musical journey with the Nadjiwan project, I’ve aimed for music with a universal appeal. When addressing Indigenous issues through music’s captivating melodies, hooks and chord progressions, one can connect with a broader audience more effectively than through traditional means like books, TEDTalks or lectures. Music provides a subtler route to introduce people to these important topics. Even if listeners only enjoy the catchy tunes and rock riffs, that’s a success for me. If they go a step further and delve into topics like residential schools, that’s a positive outcome. Encouraging independent research and supporting Indigenous artists through album purchases are additional steps in fostering awareness.
TC: From your experience, what obstacles do you believe Indigenous artists face and how can the industry address them?
MM: I think the main challenges or obstacles involve access to resources. This doesn’t necessarily have to be purely financial; it could also encompass educational resources, such as knowledge about recording and releasing records. We assist artists in navigating these challenges. Our approach involves the old idea that if you give someone a fish, they eat for a day, but if you teach them how to fish, they eat for a lifetime. With many of the artists we collaborate with, our aim is to educate them about the music business. This equips them with the knowledge needed to operate independently in the future without relying on us as a label or service. This ensures they have the awareness to navigate the industry and avoid potential scams or exploitation, as the business can be somewhat seedy.
TC: When collaborating globally, how does Sultan of String navigate the fine line between cultural fusion while ensuring authenticity and respect for the diverse musical traditions explored?
CM: Part of the challenge was figuring out how to approach this project and ensuring we didn’t appropriate Indigenous cultures. The guiding principle was “Nothing about us without us.” I participated in online forums and talks, and read about working with Indigenous knowledge and culture. We established a consultation process with Indigenous artists, seeking input on all aspects of production.
In short, our approach involved listening more than doing, creating a structured and safe framework. Recognizing the challenges in the music business, we aimed for a more equitable deal structure. Non-Indigenous streams of Ontario Arts Council funding were utilized to compensate Indigenous artists, ensuring no impact on their funding streams. We recorded the bed tracks at Jukasa, an Indigenous-owned studio within the Indigenous community of Six Nations of the Grand River, aiming to give back to the community at every step. In addition to paying Indigenous artists for their performances, we are providing the whole performance share of neighbouring right royalties to our Indigenous collaborators.
TC: What message are you most eager to share?
MM: The track I’ve just sort of touched on, “The Beautiful Darkness,” is more of a universal message, bringing us all together. Only by working together can we solve the problems we have currently and even problems of the future. I think we kind of lose sight of that as a species. We keep forgetting that we’re all really one. We’re one symbiotic organism; even though we’re all separated individuals, we truly work better together. I think the album illustrates how we can all work together towards reconciliation. Because we truly, genuinely are having a wonderful time on stage and actually I can’t wait for the next time we hit the stage together again.
Meriläinen will not have to wait long, as the group appears in Ottawa next Friday. The performance promises to be a compelling testament to the power of unity in music and fusing Indigenous and non-Indigenous talent.
This interview has been edited for length and clarity.
[Featured image by Micah Sky]
