Dear friends, new and old, near and far! Treefort 7 is less than four months away and we’re super hyped to announce over 90 artists in this first round of bands performing at Treefort Music Fest 2018.
A few weeks ago we gave you a sneak preview of what the forts have planned for 2018 and now we’re ready to share with you the first round of artists playing at Treefort 2018!
We did our research on the cool cats in this first round of artists and have highlighted some of them below. Please continue exploring all the artists in this first announcement HERE! You might just discover your new favorite band!
Get captivated by some of the most bizarre unsolved stories from Treefort Music Fest that have enthralled fans for years. Watch as two stories unfold on the premiere of Fort Files. Shout out to our friends at Retroscope Media!
((( tallahassee, florida )))
((( manhattan, new york )))
((( phoenix, arizona )))
Fittingly, the 11 electronics-driven songs on Okovi share musical DNA with her early work on Sacred Bones. The music was written in pure catharsis, and as a result, the sonics are heavy, dark, and exploratory. In addition to the contributions of Danilova’s longtime live bandmate Alex DeGroot, producer/musician WIFE, cellist/noise-maker Shannon Kennedy from Pedestrian Deposit, and percussionist Ted Byrnes all helped build Okovi’s textural universe.
With Okovi, Zola Jesus has crafted a profound meditation on loss and reconciliation that stands tall alongside the major works of its genre. The album peaks of tragedy with great wisdom and clarity. Its songs plumb dark depths, but they reflect light as well.
((( washington d.c. )))
((( toronto, ontario, canada )))
Lido Pimienta is a Toronto-based, Colombian-born interdisciplinary musician and artist-curator. She has performed, exhibited, and curated around the world since 2002, exploring the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular.
Lido’s latest LP La Papessa (2016), charts an evolution from her debut LP Color (2010), an album full of (as the title suggests) colorful landscapes and positive vibrations. The 2017 Polaris Prize-winning album, La Papessa, takes a more personal approach, describing the narrative of how Lido has found her independence as a woman and as an artist who refuses to fit preconceived notions of what a pop Latina artist ought to be.
The album was written in multiple cultural and geographic settings — the desert of Indigenous Wayuu land and the northern mountains in Colombia, as well as in Canada, in both London and Toronto, Ontario — and the music, in turn, reflects these settings. The sounds on La Papessa take listeners on a musical journey from traditional Afro-Colombian percussion to global bass and darker avant-garde electronic sounds. Lido’s piercing, explosive and heartwarming voice unites the compositions, beats and harmonies, resulting in a perfect labour of love and sound that highlights the creative voice of this talented artist.
((( boise, idaho )))
((( te awanga, new zealand )))
((( toronto, ontario, canada )))
It’s been 10 years of U.S. Girls as the unapologetic pop revisionist we know and love. What better way to celebrate than to witness creator Meg Remy, backed by a sample-emulating large ensemble, attempt to swing all fates toward love. The expatriate returns Stateside with a plan to dance beyond reality. Performing compositions that Pitchfork has called “part Shangri-Las, part Sun Ra” alongside new material from the soon-to-be-released follow-up to 2015’s celebrated, 4AD-backed, Half Free, may this live show give you the courage to face whatever the next 10 years may bring! “As U.S. Girls, Meg Remy writes whip-smart pop music that tackles everything from feminist liberation to doomed love affairs. Her influences are especially protean—cramming together golden oldies, disco, glam rock, and noise into eccentric packages that vibrate with ideas. Her voice can be elegantly shoehorned into almost any genre—she is as comfortable with caustic lo-fi experiments as she is making glossy glam-pop.Remy’s new song, “Mad As Hell,” is an inventive anti-war song that combines outré smarts with utter catchiness, a hard thing to do for the type of messaging that accommodates both Nickleback and Marvin Gaye.” – Pitchfork // Watch the great video for “Mad As Hell”
((( brooklyn, new york )))
Born in a Brooklyn warehouse in 1997, 12-piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. “If you’ve ever caught Antibalas live over the course of their nearly two-decade existence, you already know what an overwhelming and exhilarating experience their music is in-person, and somehow they’re able to bottle it up and make their studio work groove and climax just as dramatically, like you’re right there in the room with them. It’s been five years since the Brooklyn collective released a record, and now they’re about to return with their sixth, Where The Gods Are In Peace. True to classic Afrobeat’s potential to tackle dire social and political issues via cathartic party music, Antibalas emphasized positivity and hope in their statement about the album: We are still very much a political band, but as we mature we present and pay homage to the deep courage of our ancestors, we express a message of peace, harmony, and dance, and we take a hard look into the past while forging a future of solutions.” – Stereogum
((( chicago, illinois )))
((( london, u.k. )))
Even in the increasingly crowded field of electronic music, Kelly Lee Owens’ debut album arrives as a wonderful surprise. An album that bridges the gaps between cavernous techno, spectral pop, and krautrock’s mechanical pulse, the 27 year old Londoner has made a debut album brimming with exploratory wonder, establishing a personal aesthetic that is as beguiling as it is thrillingly familiar. “KLO’s stunning debut is a beautifully immersive and enveloping take on all of our favorite things: emotional, floating electronic dream-pop and more propulsive and visceral dance music that pulses like an underwater heartbeat, seamlessly woven into something that feels both familiar and entirely new.” – Gorilla vs. Bear
((( new york, new york )))
MIRAH featuring JHEREK BISCHOFF. Brooklyn-based songwriter Mirah Yom Tov Zeitlyn has been creating incorruptible independent pop music since the late 1990s. She has released over a dozen solo and collaborative recordings on K Records, Kill Rock Stars, and various domestic and foreign independent labels. She has performed with the Oregon Symphony, Contemporaneous Orchestra, and the Portland Cello Project, and has toured solo and with countless iterations of her own band in concert halls, music clubs, and punk basements all across North America, Japan, and Europe. Her latest release Sundial is a retrospective of songs from her catalogue arranged for string quartet by the beloved Los Angeles-based polymath Jherek Bischoff. This special Treefort performance will feature a quartet of talented string players from Boise.
((( athens, georgia )))
Cindy Wilson’s current endeavor is as far from The B-52s as one can possibly imagine. Rather than shouting from the rooftops in “The World’s Greatest Party Band”, Wilson swoons and whispers over swirls of subtle psychedelia, Quincy Jones-era strings, and pulsing synths. With echoes of Air, Bjork, Tame Impala, and Gary Numan, the band refers to its infectious brand of new wave electro-pop as “Turbo Chill,” a sonic synopsis offered by the hosts of Adult Swim’s Stupid Morning Bullshit following the release of Wilson’s solo debut EP, Sunrise. Three years in the making, Change offers a challenge to fans of the iconic B-52’s, while cultivating a new generation of listeners. After four decades on the road internationally with The B-52s, Change represents a full circle for Wilson. Tapping into her own local stock in order to start anew, Cindy returned to the same town that nurtured her own creative roots: Athens, Georgia. Change features a “native” cast of Athenian musicians including Ryan Monahan (Easter Island, Monahan), producer/engineer Suny Lyons (PacificUV, Dream Boat), Lemuel Hayes (Ola Moon, PacificUV), and Marie Davon (powerkompany).
((( evanston, illinois )))
((( los angeles, california )))
((( philadelphia, pennsylvania )))
“The Districts are no ordinary rock band. They might come off as one, though. When representation remains an issue even in a field as progressive as music, who’s to blame for passing over the familiar trope of four white dudes in a Philly-based outfit playing guitar, drums, and bass in favor of something else? This would be a mistake. There are plenty of reasons The Districts’ music began to take off before these guys had even graduated high school; the band’s charm is undeniable to even the strongest of cynics. Playful dynamics and biting tales of romance, often littered with an occasional, easy-to-miss joke, have been the group’s signature since its self-released, debut LP, Telephone, in 2012. Later, the band’s first full-length for storied indie label Fat Possum, 2015’s sophomore effort A Flourish and a Spoil, brought the band to its biggest audience yet without sacrificing the qualities that its earliest fans cherished. Popular Manipulations, The Districts’ third and newest album, takes that album’s highlights—beefy guitar tones, disarming vocals and stories specific and sometimes surreal—and blows them up with stronger and more varied songwriting, sharper production, and crisper mixing.” – Paste Magazine
((( houston, texas )))
“What you get from this Houston band is soul, straight from horn to heart. I’ve witnessed The Suffers’ magnificence on a tiny stage in a D.C. nightclub, on a big stage at the Newport Folk Festival, and behind my Tiny Desk. What happens on the band’s first album is something that rarely happens on debuts: This band is on fire when it’s in front of an audience, sure, but the intensity of its shows is also captured in the studio.The Suffers’ sound is steeped in what the band calls “Gulf Coast Soul,” as well as elements of ska, Southern hip-hop, classic soul, rock ‘n’ roll and especially reggae. In fact, the group’s name comes from a line in a famous late-’70s reggae film called Rockers. What helps set The Suffers apart from most is the band’s sweet style of playing: No one is vying to show off, and everyone serves the song. It helps that singer Kam Franklin is at center stage — powerful and lovable and, like her band, careful not to overdo it. She seems to understand that there’s power in holding back or waiting for the perfect moment to let go.” – Bob Boilen, NPR Music // The Suffers have wowed Boise crowds a couple of times now, but this upcoming appearance on a Treefort stage is long overdue. We can’t wait.
((( chicago, illinois )))
NNAMDI OGBONNAYA is a multi-instrumentalist composer, producer, and performer. His musical identity was forged in the DIY community of Chicago. Relentless participation in numerous musical projects bridged genres and created inroads between scenes. Near constant activity quickly made him a locus of gravity in the community. Constant participation quickly opened channels to a broad cross-section of the arts world. Nnamdi has toured the USA, Mexico Europe and Canada with projects ranging from punk to jazz. A full accounting of his musical activity over the last eight years includes approximately 15 bands and dozens of tours. All the while, Nnamdi has not only released a stream of records and EPs under his name and the ironic moniker “Nnamdi’s Sooper Dooper Secret Side Project”, but also runs his own label called SOOPER Records. His solo styling combines hip-hop, experimental rock, gospel, and jazz. His songs can often contain a sense of satire that is just as humorous as it is critical. Nnamdi’s lyrical insights draw on the diversity of his cultural experience as a Black, Jewish, first generation Nigerian-American. His work is characterized by the coupling of sophisticated compositional structures with pop-music motifs. // One of the best live shows that hit Boise in 2017 and psyched to have him and his band back for Treefort 2018!
((( portland, oregon )))
Wild Ones delve into the bliss and burden that musicians are tasked with today: create work that captures your spirit, but do it without selling your soul. Self-produced and recorded, they walk the line of DIY oddity and polished pop sheen. Hailing from Portland, Oregon, the band combines the talents of lead vocalist Danielle Sullivan, keyboardist Thomas Himes, drummer Seve Sheldon, guitarist Nick Vicario and bassist Max Stein. Growing up on Cocteau Twins and En Vogue, their sound is a mash of R&B synths, muted guitar, and somber vocal melodies. After 7 years together, they’ve hit their stride in creating work that poses questions about art and authenticity. Mirror Touch, the band’s latest record released in October 2017 via Topshelf Records, explores spaces of isolation, loneliness and how it feels when the line between self and other becomes blurred. The record title refers to the condition “Mirror Touch Synesthesia” and the physiological experience of empathy. How can you know yourself, when in public you become everyone else? The songs explore the quest to maintain artistic self-integrity in an industry that seeks to homogenize. Solitary in their process of collaboration, Himes and Vicario produce the music, while Sullivan crafts lyrics and melodies, their attempt at self-preservation against the ever-changing expectations of what music should or should not be. Combining their style of upbeat melodies with a backdrop of darker lyrical themes, an inquiry into their artistic process ultimately reflects a balance between earnest head nods to their favorite sounds with a fierce loyalty to their own sense of self.
For a full list of artists announced in this first round, check out our lineup page HERE.
Want to dive deeper into the artist announce? Have a listening party with our playlists on Spotify, SoundCloud and Apple Music.
But wait, there’s more! This is the first of a series of artist announcements so be prepared for more to be announced soon. There is still time to submit for an opportunity to play at Treefort if you want to be apart of the fun. Submit HERE. Submissions close December 18.
Be Treefort Ready before the New Year. Buy your Treefort pass HERE.