The language of sound has always been ingrained in Mich Cotas identity. As a two-spirit woman, raised by a native father and a white mother in Southern Ontario, Cota began composing small melodies on the piano from the age of three to create her own sacred space in an intensely religious home. Inspired by her countryside surroundings, she would ingrain herself in nature, imagining herself in a place free of theology and restraint. This is something Cota has carried with her throughout her creative existence. Her music is a way of navigating past traumas while exploring her queer experience, with open, unapologetic sincerity. Its through her artistic expression that she relates to others, to build collective understanding and empathy, with the intention to heal and challenge normative ways of being. Its this determination and focus that allows Cota to actualize her work in an extrinsic world. After dropping out of high school and leaving home at an early age, she built a modest independent life alongside her creative path, taking inspiration from these overwhelming new experiences and pouring them into her performance. Now residing in Montreal, Cota has received both loving support and cruelalienation after living as her true self making for a complex, everyday experience. This creates an unsettling, inward universe on Kija / Care that follows Cota as she wrestles with finding her way through an overgrown, intimidating path. Shes got to be her own, find a place in this life, she sings on Eta-Godj / Only. Shes put herself together and pushing through, pushing through. Cota is aware that the colour of her skin has allowed her a white-passing privilege but that hasnt excluded her from experiencing racism throughout her life. She uses aspects of her indigeneity in her work with a respectful, significant capability that allows her to convey her Algonquin heritage, creating further discussions of Indigeneity in todays world