Performing at the Weisman Art Museum on April 25, Wisconsin-based band Bizhiki combines traditional powwow music with modern technology.
Bizhiki released their debut album “Unbound” on July 19, 2024 under Indiana-based independent record label Jagjaguwar and have since received recognition for their music, according to Bizhiki’s manager, Molly Beahen.
Bizhiki is one of First Avenue’s Best New Bands of 2024 and additionally one of 10 artists voted to be included in the 2025 Minnesota Music Month Scouting Report for The Current.
Vocalist Joe Rainey, who is enrolled in the Red Lake Band of Ojibwe, said the performance at the Weisman began after meeting Brenda Child, an author and professor of American studies at the University of Minnesota, at a performance at the University of Wisconsin Eau Claire on April 17.
“It just was a great connection,” Rainey said. “I’m really happy that Brenda came forward (to us) and (we are) looking forward to performing for the Indigenous community in Minneapolis and that’s what we’re looking forward to most.”
“Unbound” received one of the Ruth Foundation of the Arts inaugural Wisconsin Special Project grants, which Beahen said allows the band to expand in live performances as well as representation.
“It is exciting to be bringing the performance to the Weisman Art Museum as presented by the George Morrison Center for the Indigenous Arts,” Beahen said. “This band’s live performance is so evocative and moving. The musicians and crew can bring something super special to life in any setting.”
Bizhiki began in collaboration with Rainey and fellow vocalist Dylan Bizhikiins Jennings, who is Ojibwe enrolled in Bad River Band of Lake Superior Ojibwe, and Sean Carey (S. Carey), who is known for being the drummer and supporting vocalist for Bon Iver, in Wisconsin at the Eaux Claires festival in 2015, according to their website.
Festival organizers acknowledged that their performances take place on historically Ojibwe land and felt that they needed to include Indigenous musicians.
“I wish more people would say this, that instead of reading from some land acknowledgement, that they would say, ‘We’re gonna give your people space and just invite you to do what you want to do,’” Jennings said in a posted statement about Bizhiki’s origins.
Bizhiki continues the motto of collaboration throughout their career.
Beahen began managing Bizhiki over two years ago after managing S. Carey for several years. She said managing the band has felt like a natural fit for all and added as a non-Native person, it is her privilege to amplify the beautiful and important art produced by Bizhiki.
“It has been very rewarding to see Bizhiki’s growth and recognition over the past couple of years,” Beahen said. “They are incredibly talented musicians in their own right. Together they’re doing something wholly unique and special, especially as it relates to sharing Joe and Dylan’s Ojibwe culture and life ways to a widening audience.”
When asked why students should listen to Bizhiki’s music, Rainey responded by explaining the song “Trying to Live” from “Unbound.” The song begins with traditional vocals and an intense drum beat then transfers into a psychedelic beat behind the vocals.
“Hey oh hey oh hey, they don’t want us to live,” Rainey said. “That’s how it is, that’s just how it is. They don’t want us to live here, we’re just trying to live.”
Rainey said the lyrics relate to everyday issues Indigenous people face and convey the mission Bizhiki holds in their music. He said young people, such as university students, hold power and understand what they need to be fighting for in order to reach visibility in society and the arts.
“A lot of people who are disconnected from issues probably don’t have young people in their lives,” Rainey said. “I think the young population understands what they need to be fighting for and we’re depending on the younger generations. And what’s going on right now, I feel for the younger generation. It’s so stressful.”
Bizhiki wants listeners who might be unfamiliar with traditional Indigenous music to acknowledge, recognize and learn from the stories their songs and beats are telling. Tracks from “Unbound” discuss topics ranging from colonization, land reclamation, the decolonization of the mind and further a conversation about representation in the arts.
Tracks titled “Gigawaabamin (Come Through),” “Franklin Warrior,” “She’s All We Have” and “Nashke!” reflect Bizhiki’s cultural roots as well as Rainey and Jenning’s ties to Minneapolis and the Native communities in Minnesota.
Rainey said he is excited to be back in Minneapolis after settling in Wisconsin, especially because he gets to watch Timberwolves play-offs.
“I’m really hyped to be back in Minneapolis at the same time as play-offs,” Rainey said. “That’s all I breathe is Timberwolves basketball. I’m just very happy.”
Bizhiki is performing a sold-out show at the Weisman Art Museum on Friday at 7 p.m.
“Everyone is on their A-game,” Beahen said. “Which helps us reimagine which spaces music can occur in. I’m excited to see it all on Friday night.”
