Growing up in Sioux Falls, South Dakota, Oglala Lakota artist Mato Wayuhi—both an actor in and composer for the series Reservation Dogs—became enamored with rap music. “These artists spoke to me more than my own Lakota music did,” says Wayuhi, naming the likes of André 3000, Lauryn Hill, and Tyler, the Creator.
As he began rapping and producing himself, however, he seized on the chance to bring both worlds together. “I immediately understood how it could be a vehicle to represent my own community in a way that exceeds others’ expectations of Native sound,” says Wayuhi. Consider his latest album, Bygoner, released in November, which melds rap, R&B, and pop with references to his own experiences and identity.
Featuring some of Wayuhi’s most personal and introspective songs to date, Bygoner centers on themes of self-reflection and vulnerability—often in the face of love or lust. “Bygoner was inspired by my side-ho era,” Wayuhi, who is Two-Spirit, says frankly. “I was falling for folks who were emotionally unavailable, so I had to reckon with what that says about me. I also wanted to strengthen my songwriting and bass–playing skills. Much of what you hear is tailored to those exercises.”
On the title track, for instance, Wayuhi bids a catchy farewell to an ex-flame. “Your forgiveness ain’t my business anymore,” he sings. “Don’t have a clue what I’m doing, but at least I’m doing me.” On “The Sunroof Song,” he croons about struggling to move on from someone. “Ain’t it something when you move on, and you just want what you don’t need anymore,” he sings.
Through it all, Wayuhi also weaves in elements from his Native culture, especially humor. “Girl, you’re Native—what are you doing sitting on your ass,” goes his track “Suckerz,” featuring Awu. “Do you not know that you can get into any national park for free?”
Even better than his distinct sound? Wayuhi’s personal style, visible during his live performances. (One can often catch a Wayuhi set during events like the annual Santa Fe Indian Market, where he is also known to walk the runway.) “My style speaks to who I want to be and who got me here,” says the artist. His colorful wardrobe—filled with cool prints, beadwork jewelry, and lots of sleeveless shirts—is built from thrifted pieces, as well as contemporary Indigenous designers like Jamie Okuma. “My style is predicated on unpredictability, novelty, and the phrase ‘thrifted and gifted,’” says Wayuhi. “[I like] one-of-one pieces, and not for their price—more so for the journey of how you got it, and from whom.”
In his new music video “Leftovers,” Wayuhi can also be seen sporting pieces like a printed ledger art sweater, made by the prominent Indigenous designer Lauren Good Day (who Wayuhi has modeled for before). The artist says he is enjoying using fashion as another form of performance art. “Right now, I’m in my twunk era, so [I’ve been wearing] lots of muscle tees from ’90s powwows, and bespoke leather gloves made by my friend, Taylor Uchytil, which I’ll be wearing on tour next year,” he says.
As his star continues to rise, Wayuhi wants to carry on experimenting with his sound and expanding his creative practice. This is precisely why he collaborated with so many other exciting Indigenous creatives on Bygoner, such as Tia Wood. “One of my goals is to start writing for artists and producing their records,” says Wayuhi, “so I wanted to communicate that by featuring these other Native artists, providing a left-of-center landscape for them to explore their own sounds.” Happily, he’s got a special sound that is all his own.
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