CHICAGO — The start of the pandemic was devastating for Katherine Paul, the leader of indie rock band Black Belt Eagle Scout. All of her tours, including a headline tour across North America, were canceled, and she worried that her music career was over. She took a day job at a nonprofit organization and returned to the Swinomish Indian Tribal Community’s lands in Western Washington. However, during her time in the cedar forests and along the Skagit River, she found solace and relief by turning to her guitar. She recorded snippets of songs on her phone, which became the foundation for the powerful and grunge-infused album “The Land, The Water, The Sky.”
“If the pandemic hadn’t happened, I probably wouldn’t have made this record,” said KP, the songwriter, singer, and guitarist for Black Belt Eagle Scout, the only Native American artist to perform at this month’s Pitchfork Music Festival in Chicago.
She said, “I spent a lot of time outside. I spent a lot more time than normal going on hikes, being part of the land. It’s not like I never do that stuff, but it brought me back to a place where this is who I am.”
Released in February, the new album helped propel Black Belt Eagle Scout to their most successful year yet. The band toured Europe and will be heading to Australia later this year. Two of their songs, “Soft Stud” from a previous record and “Salmon Stinta” from the latest album, appeared in the television series “Reservation Dogs” this season. Reservation Dogs Music Supervisor Tiffany Anders stated that she was introduced to the band’s music by the show’s creator, Sterlin Harjo, when they started working on the second season. She said, “Black Belt Eagle Scout’s music is beautiful and emotional, and fits these characters, their world and landscape — and the vibe of the show.”
Pitchfork, a three-day festival that is a significant milestone for independent musicians, was another major achievement for Black Belt Eagle Scout. Held annually in Chicago’s Union Park, this year’s headliners included Bon Iver, Big Thief, and The Smile, which features members of Radiohead.
Stepping onto that stage last weekend was nerve-wracking for KP, considering her high expectations for the show and concerns about potential storms. However, as she started her powerful set of mostly new songs in front of thousands of enthusiastic fans, KP found comfort in her guitar. She performed several long jams, often twirling her jet-black hair to the point of obscuring her face. She described it as “totally a moment” and said, “I kind of cried after we played because it felt so meaningful. Like, I’ve always wanted to play this music festival.”
Reaching Pitchfork has been a long journey for KP, a 34-year-old artist and member of the Swinomish Indian Tribal Community. She left her home on the reservation in LaConner, Washington, at the age of 17 to attend Lewis & Clark College in Oregon and pursue a career in rock music.
Growing up on the reservation, she drummed and sang cultural songs. As a teenager, she discovered local Pacific Northwest bands and the Riot Grrrl movement and played her first gigs at small bars. She moved to Portland, Oregon, to immerse herself in the indie music scene, eventually forming Black Belt Eagle Scout in 2013.
Her early music showcased ethereal singing and minimal guitar strumming, focusing on themes of love, friendship, and healing. However, she also rocked out on certain songs. Claire Glass, who plays guitar in the band, noted KP’s authenticity and power on stage.
KP’s Native American identity has always been present in her music, but her latest album provides a more vivid depiction of life on the Swinomish reservation. The songs reference traditional activities such as chinook salmon fishing and powwow dances.
While KP’s songs don’t directly address issues like missing and murdered Native American women or forced relocations, she hopes they can connect with people and draw more Native Americans to indie rock shows. She wants to inspire young Native Americans to connect with her after performances.
KP emphasized that she doesn’t need to speak out about these issues from the stage because being Native means she is already grappling with them in her daily life. She cares deeply about such topics but finds healing power in her music.
In her latest record, KP aimed to show that she is both a musician and a Native artist. It was more of a collaborative effort, featuring additional musicians on the record. This marks a departure from her usual approach of doing everything herself. Renowned cellist Lori Goldston, who has played with Nirvana, contributed to several songs, as did two violinists, a saxophone player, and a mellotron player. Takiaya Reed, a first-time producer and member of a doom metal band, described the experience as “beautiful and amazing,” bringing her classical training and love for heavier sounds to the studio.
KP also wanted to include her parents, with whom she grew especially close during the pandemic, on the record. They participated in the song “Spaces,” adding a “healing vibe” to the track. Her father, one of the main singers at the tribe’s cultural events, provided a powerful powwow chant, while her mother sang harmonies. This was a meaningful moment for KP, as it felt like a full circle in her identity.
Overall, KP doesn’t want to be limited to being seen solely as a rock musician or a Native artist. She sees herself as both and hopes her latest record reflects that perspective. She drew inspiration from guitar-heavy indie rock band Built to Spill and aimed to create music that transcends labels and connects with listeners on a deeper level.