Blue Moon Marquee, a swing blues duo from British Columbia, have collaborated with Northern Cree: a Powwow, round dance drum, and singing group hailing from the Cree Nation based in Treaty 6 (traditionally known as Maskwa cîsihk, Alberta). Together, they produced Get Your Feathers Ready, an alluring album that pulls listeners in through an infectious blend of bass, electric guitar, and Cree drumming.
Created in a single eight-hour recording session, the album was inspired by the monumental contributions of Indigenous Peoples on contemporary North American music and pop culture, as well as by the documentary, Rumble: The Indians Who Rocked the World.
Blue Moon Marquee’s bass and guitar arrangements are hallmarks of the swing blues genre, creating melodies with a natural lilt and rhythmic looseness that bring a touch of emotional nuance and vulnerability to the entire record. The leading vocals from the group’s A.W. Cardinal and Jasmine Colette, are grounded and unfiltered. Cardinal’s soulful and smooth singing commands instant attention, charging out without hesitation like a burst of a firecracker. His voice aches with troubled yearning in “Soul of a Man,” a gripping track about self-identity and discovering oneself. “I travelled different countries, I travelled foreign lands, ain’t no one could tell me, just what is the soul of a man.”
Northern Cree’s drumming reverberates through Cardinal’s rich vocals in a varied and upbeat rhythm. The group enriches each track with their raw and synchronized chorus in the background, their registers soaring effortlessly like an eagle — from impossible highs to mournful lows — driving forward an electrifying energy. Their joyous whooping and powerful cries in “Rollin’ and Tumblin’” were captivating, as if reaching out across multiple generations through sound, while simultaneously blending old musical traditions with the new.
The lead track “Put Your Feathers On,” is a call to dance and celebration. It begins with a steady heartbeat of drumming that gradually builds before ushering in a laid-back but catchy swing-style guitar melody, infusing the tune with warmth and groove. “Come on baby, put your red dress on / We go dancing ‘till the morning sun.” I couldn’t help but nod my head, tap my feet, and sway my body along with the contagious rhythm.
What I also found unique about this album were the interlude tracks that served as momentary outtakes, giving listeners a glimpse into the studio recording process. These quiet disruptions are a welcoming break — providing a window of reflection to appreciate the preceding song before preparing listeners for the next banger.
