Inside Aysanabee’s Journey as an Oji-Cree Artist 

As an artist who blends storytelling with music, how important is it for Canada to invest in Indigenous and diverse voices in the arts? 

I think that’s a very complex question. To hit the nail on the head: the systems in this country weren’t built for minorities. You just have to look at history and who was/is in power. The idea of grant funding and similar initiatives for Indigenous people and other diverse voices is relatively new. While these programs help offset some of the inequalities built into the fabric of this industry, there’s still a lot more work to be done. We’re still far from a level playing field. 

I carry the words of my grandmother with me: “You’re going to have to work 10 times as hard to get half as much.” She lived in a different time, but I still think of this whenever I’m tired. 

Who are some Canadian artists that have inspired you and deserve more recognition? 

There are so many underappreciated artists out there – in Canada, and even in my immediate circle. Lala Noel, for example, comes on the road with me to perform, co-writes songs with me, and also has her own project. I had the privilege of sharing the stage with so many incredible people on my headline tour, like the Silla Throat Singers, who are absolute gems. 

There are also artists who recently signed to the same label I’m on, like Thea May, who has an incredible voice, and Sebastian Gaskin, who just released a beautiful record. Some are people I used to perform with at open mics, like Marc Villamor or Jeremie Albino, who seems to be doing quite well these days, at least from an outsider’s perspective. 

Then there’s Skye Wallace and Tennyson King, whom I toured with in Italy and Taiwan, respectively, and they are both great humans. I am lucky to be surrounded by so many amazing artists. 

What were some of the biggest challenges you faced as an emerging artist in Canada? 

I actually liked being “emerging,” I think it’s a step up from being unknown, so there’s excitement without the pressure of having fully “emerged,” haha. The challenge at the time was doing it all with such a small team. I was lucky to have one at all — most artists don’t at that stage. We were always trying to stay on top of every opportunity that came up, doing our best to be proactive as well as reactive. 

One major challenge is that Canada is so spread out, so touring and simply being in the right places to be seen can get really expensive, especially when you’re emerging. There were so many times when I was losing money, but it was still important to be somewhere or be part of something. 

Trying to balance everything was another challenge, because you have to be so much more than just a songwriter and musician. You have to be a content editor, an administrator, a director, a social media expert, a marketing strategist, a model, a spokesperson, all the things that help bridge the divide between artist and audience. 

What advice would you give to young Canadian artists trying to make it today? 

Practice all the time. Get good at production, not just music production, but also video, photography, and creative. No one is going to care about your music as much as you do, and I mean that in the best way. You have to be your biggest fan. Make music that you truly love; if you believe in it, it will be easier for others to believe in it too. 

Only bring people onto your team who are genuinely passionate about your project. Make sure you have a clear vision; if you don’t, take the time to find it. Otherwise, you risk wasting everyone’s time. 

What can we expect to see from you over the next few months? 

My new album, Edge of the Earth, came out on June 20. I’ve got a bunch of festival dates coming up, and I’m so excited to announce the Indigenous openers for my upcoming Canadian Fall headline tour. Oh – and of course, I’m working on new music too.