Most musicians and music-listeners never think twice about where their favorite sounds come from. Yet many chords, beats and riffs carry echoes of Indigenous music that helped shape America’s sound.
The influence of Indigenous music runs very deep in America. Many of the sounds that define modern genres stem from Indigenous music. Elements of Indigenous music are apparent in blues, folk, jazz and the distorted guitar tones that defined early rock and punk.
Rhythm, percussion, chant, hand drums, flutes and rattles created distinct sounds that endured throughout generations.
The structure of these instruments and of this music emphasized repetition and communal participation instead of just individual performance. The beats, collective rhythm and emotional intensity would directly influence forms of blues and gospel that evolved alongside Indigenous communities.
When the United States implemented policies that were targeted to reduce Native expression and identity, songs and dances unique to communities were banned in many places.
The music quietly endured. It was passed down through families. It was revived in community gatherings. That persistence allowed Indigenous music to keep influencing mainstream culture even as the sources often went uncredited.
The influence of Indigenous music on American popular music was clear with “Rumble”, a 1958 instrumental piece by Link Wray, a Shawnee guitarist. He was unable to be open about his identity at the time.
The Rock & Roll Hall of Fame credits “Rumble” and Wray with introducing the power chord — a sharp and powerful way to simultaneously play a collection of notes on a guitar. That sound, the sound of the power chord, became the backbone of modern rock and punk music.
Some radio stations banned the song for being “too aggressive,” even though it had no lyrics. The older generations worried that the song would push juvenile delinquency, because the very sound of the guitar was so raw and boundary-pushing.
It’s hard to imagine how different music would be without this single song’s influence. Even many modern pop songs like “Rolling in the Deep” by Adele use strategies that can be directly attributed to “Rumble.” Many beginner electric guitarists now begin by learning power chords.
“Rumble” would go on to inspire many guitarists to explore distortion and feedback (the gritty, distorted sound thought of when an electric guitar is mentioned) as artistic tools. Wray became one of the most influential artists ever, with countless co-signs of his influence by some of the most famous musicians ever, such as Jimi Hendrix, Bob Dylan and Paul McCartney.
Later on, Buffy Sainte-Marie, a singer-songwriter, musician and social activist, attempted to blend traditional Indigenous singing techniques and rhythms with contemporary folk and rock music, which was also infused with themes of Native activism. These techniques influenced the folk revival scene, leading to artists such as Joni Mitchell and Neil Young, who both echoed the themes of Sainte-Marie as well as her sound.
Today, Indigenous music archives have been or are being expanded. The Smithsonian Folkways Recordings project has made hundreds of tribal songs digital to ensure they remain available and accessible for future generations. Artists like The Halluci Nation mix electronic beats and traditional Indigenous music. The roots still vibrate through contemporary sound.
Additionally, younger artists such as Supaman and Raye Zaragoza weave Native languages, sounds, activism and themes into hip-hop and folk.
However, much of the influence still goes unseen. Regardless of the artist’s background, Indigenous music has played a role in the sounds of what we hear today. Folk, blues and rock are the foundations for much of contemporary popular music, and each has significant ties to Indigenous influence.
The pulse of this music still beats under every guitar riff and Indigenous music continues to push boundaries and have an impact on popular culture. America’s music began long before the first record ever spun.
The story of American music is becoming less about invention and more about the continuation of a rhythm passed forward.
