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"That's a whole different part of us from what we're doing," Wanbdi says, explaining her group's apolitical approach. "It's kind of private and not in us to exploit whatever people gain from using their Indian heritage. We're interested in people listening to our music and wanting to buy it for that reason only." But why not use history for creative fuel? "People already know what's happened and what's going on," she says, "and for us, we just kind of live. We don't sit around and go, "God, I feel sorry for myself,' you know? We write about things that happen in everybody's life. Everybody feels the same. It doesn't matter what color you are."
On Things We Do, the band's 1998 studio disc, the feelings expressed are typical of many blues recordings. Unfortunately, these themes get no updating on Things, either: The disc's lyrics frequently border on sophomoric, clichéd explorations of lost love and such. "I had the blues this morning since my baby's been gone/Now I don't know why she don't want me no more," from "Blues This Morning," is a particularly trite example. The group treads a musical turf that's also been heard before: the Texas blues of the late Stevie Ray Vaughan, whose singing and Stratocaster-playing influences dominate Things. But at its best, Indigenous stretches these too-familiar sounds into a fresh recombination by infusing the material with palpable passion and touches of Latin grooves and percussion, with Horse's spicy bongos adding occasional Santana-esque flourishes. Mato's impressive playing (which will either thrill fans of the late Vaughan or anger them: Mato frequently lifts Stevie's licks) also elevates the band's sound. Particularly when he strays from Vaughan's playbook and wades into his own deep blue waters.
All of these elements have combined to make Indigenous' brand of blues red-hot in the band members' native land -- and the musical world at large. The band's single "Now That You're Gone" -- a funky little number that could've easily been culled from a long-lost Vaughan collection -- charted at No. 8 in the Billboard Top 20 rock radio tracks list; it was the first time an American Indian act had landed in the magazine's Top 10. Indigenous has also appeared on late-night talk shows and morning news programs on virtually every major network, and Things has sold close to 125,000 units since its release in late 1998. Indigenous has garnered a reputation as a formidable live act, which has landed it spots on tours with a number of blues and rock heavies (including Bob Dylan, Bonnie Raitt and B.B. King), and the group's live shows have become spiritual events for its growing tribe of followers.
Indigenous got its start just outside a Nakota reservation in South Dakota. Growing up, siblings Mato, Wanbdi and Pte (Horse is a cousin of the three) were introduced to music by their father, Greg Zephier, who had played with a blues-rock band called the Vanishing Americans in the '60s and early '70s. Zephier showed his children the basics of their chosen instruments and then set some staunch guidelines, telling the kids they had to practice hard for two years before he'd allow them to play out. He also provided his children with some awareness of American Indian political issues by taking them to American Indian Movement meetings, among other things. Two years after their studies began, Wanbdi says, the quartet played its first show in a rented-out bingo hall, performing for family members and friends. "He taught us all about work and discipline," Wanbdi says of her late father, who turned the children on to the three Kings (B.B., Albert and Freddie), Santana and Jimi Hendrix. But it was a later discovery that cinched the band's sound. "When Mato showed us some Stevie Ray Vaughan stuff," Wanbdi says, "we decided, "This is what we're going to do.'"