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What makes music Metis, and who gets to decide? Complex dynamics of recognition, non-recognition, and erasure have played out over a history of Metis music-making, from the Red River Resistance all the way to the present day.

Monique Giroux argues that Metis music reflects broader social relationships, in particular the politics of recognition. Drawing on newspaper articles, archival documents, interviews with Metis and non-Metis musicians, and over a decade of research at cultural festivals, she charts a history of reframings: a changing but problematic relationship whereby settlers define the boundaries of acceptance to assert control over Metis identity and culture. Complicating this narrative, Giroux points to the many ways Metis have resisted settler recognition and erasure - both within mainstream old-time fiddling and at Metis-run events where people have continued to gather, tell stories, and draw on music to rebuild relationships in a time of resurgence.

Metis Music critically examines music as a shifting site of encounter, showing its readers what to listen for, how to learn by listening, and the importance of acting intentionally with the learning gained through listening.