For over a decade, Shub (formerly known as DJ Shub) has been at the forefront of a movement that reshaped the landscape of Indigenous electronic music. A trailblazer who coined the powwow-step genre and a former member of the JUNO-winning A Tribe Called Red, Shub has spent years blending the ancient rhythms of powwow music with the pulse of modern beats, scratching, and bass-heavy production. With a new name and vision, Shub is stepping beyond the DJ booth—emerging as a composer, storyteller, and artist dedicated to expanding the read of Indigenous music.
As Shub enters this new era, the vision is clear: to continue elevating Indigenous music on a global scale. His name may have changed, but his mission remains the same—to honor the past while shaping the future. Whether through groundbreaking new music, creative collaborations, or advocating for the identity of his community, Shub’s presence in the industry is a force of innovation, culture, and identity. With Heritage, he is making a statement—not just about where he’s been, but about where Indigenous music is headed. It’s modern, it’s raw, it’s deeply rooted, and it’s unmistakably Shub.
“Heritage is about bridging generations,” Shub explains. “It’s about taking what our ancestors passed down and making sure it continues to evolve. Our culture isn’t stuck in the past—it’s alive, it’s powerful, and it belongs on the biggest stages in the world.”
Shub’s decision to drop “DJ” from his name isn’t about leaving anything behind—it’s about embracing the full scope of his artistry. When he first emerged in the turntablism and battle DJ scene, the “DJ” moniker was a badge of honor. But as his sound evolved, Shub has evolved from a turntablist to a producer and creator of cinematic sonic landscapes that fuse tradition with innovation. His new logo also reflects this transformation, honouring his Mohawk heritage with a Thunderbird design, symbolizing strength, protection, and evolution.
Shub made his name after joining the Juno-winning Indigenous electronic group A Tribe Called Red. He played a key role in defining powwow-step, producing the breakout track ‘Electric Pow Wow Drum’ in 2013. The song fused the explosive energy of EDM with the Indigenous rhythms he grew up with—ultimately amassing over 25 million streams.
After leaving the group, Shub released his monumental PowWowStep EP in 2016, featuring the thunderous single ‘Indomitable.’ The track caught the ear of Sacha Baron Cohen, who used it as the theme for his provocative Showtime series Who Is America? in 2019. The show received three nominations at the Emmys and one at the Golden Globes. In 2018, Shub composed the soundtrack for The Grizzlies, a Canadian sports drama based on the true story of a lacrosse team formed to address a youth suicide crisis in Kugluktuk, Nunavut. Shub won Best Original Song at the Canadian Screen Awards for The Grizzlies title track.
Shub’s trademark sound comes from a youth spent in Fort Erie, on the border between Ontario and Buffalo, New York, as a Mohawk and a member of the turtle clan of the Six Nations of the Grand River. He grew up to the sound of socials, communal gatherings bringing together the sounds and rituals of indigenous culture, as well as his dad’s Doobie Brothers records and his mum playing Diana Ross, Donna Summer and Michael Jackson. When he discovered electronic music, he soon realised that the typical tempo of a dubstep track — 140 bpm — was similar to that of the grass dance songs he would hear at socials. By combining the two, he created powwow-step.
Before that, Shub had made his name as a battle DJ, competing at the DMC World Championships and the Red Bull Thre3style DJ Competition. Several well-received singles and EPs followed, before 2020’s acclaimed debut album War Club. Shub started writing Heritage soon after the release of its predecessor, first while locked down during the pandemic, then while touring at various festivals around North America. Being able to road-test his new productions meant Shub could be sure every track on the album hit as hard as he wanted. Then there were the collaborations.
Shub began writing Heritage soon after the release of its predecessor—first while locked down during the pandemic, then while touring festivals across North America. Being able to road-test his new productions live ensured that every track on the album hit as hard as he envisioned. And then came the collaborations.
“I made a bucket list,” Shub recalls. “I said, ‘These are the people I would love to have on the album.’” Many of those wishes came true, with contributions from Indigenous singer-songwriter Tia Wood, R&B mainstay JRDN, and more to be announced.
Compared to War Club, Heritage embraces a more stripped-down, raw energy, shifting away from overt political messaging in favor of hard-hitting, celebratory rhythms. “War Club was like a weapon,” Shub explains. “This one is more about where I come from—bringing my culture forward, introducing it to new spaces, and showcasing who I am.”
While his signature sound was built around the 140-BPM pulse of dubstep, Heritage expands his sonic palette, weaving in hip-hop, ‘90s-era IDM, dub-infused trip-hop, and even the heavy bass of drill. But Shub isn’t shying away from serious issues. “We have a big problem in North America,” he says, “where people claim Indigenous identity for personal gain—sometimes when they’re generations removed and haven’t lived an Indigenous life.”
At its core, Heritage serves as an autobiography—one that, through the diverse backgrounds of its featured artists, also becomes a celebration of unity in a fractured world. “It’s about cultures coming together through my music,” Shub says. “If you can forget about everything else for a moment, take it in, and just feel free—that’s the real beauty.
