Live Report: Treefort Music Fest 2025 – clashmusic.com

The pleasant heat makes it feel like a hot summer day, yet the sight of snow at the top of the hills is deceptive. Alluring and wintery, only revealing itself gradually, it appears on the horizon, the location is more way Swiss alps than North America. Or is it? The city of trees is a striking sight. Boise, Idaho, a lesser-known city in America, is not necessarily an obvious name to roll off the tongue, times are changing at pace, however. Showing a unique brilliance, music is the name of the creative game. 
Treefort Music Fest is about being in the community. The idea of gathering and experiencing music together. In its thirteenth year, the DIY event is going from strength to strength. As a part of its growth, it has something new to add every year, a different feature guests can enjoy.
With much discussion about the overall competition between festivals and some of the struggles faced, it’s refreshing to see how this independent player has cultivated its own identity. Setting its own agenda and how it goes about defining what it is, without confining itself to the broader events landscape nor bowing to fleeting corporate business trends. It has a lineup that boasts some of the most admired artists and bands in indie and alternative, folk, electronic and hip-hop. If previous schedules have helped pave the way for some big names, the ones-to-watch informed method remains visible.   
Treefort adheres to the same standards as some of the major players. There is an eco policy, recycling happens across the outdoor site, and safety is taken seriously. A kids and family-friendly place, the green spaces of Julia Davis Park, where most of the outdoor sets happen, offer an idyllic environment for everyone involved. The park is one part, the other part consists of numerous indoor venues located around downtown Boise. Everything related is no more than a ten minute walk away, which means that no car is desperately needed. A festival bus is provided, completely free of charge. Electric scooters are a mode of transportation around the city.   
Talking of ease of getting to places. CLASH takes a brisk walk to see Irish musician John Francis Flynn, who is playing a tranquil collection of songs. Enveloped in tradition, it’s a compelling way to get into things on day one. In similar fashion, approximately an hour later, The Wood Brothers of Nashville, who entertain with fulfilling numbers such as ‘Happiness Jones’, ‘Shoefly Pie’ and ‘Postcards From Hell’, play to a responsive crowd. 
Experimental noise collective John Gorbus is a hot ticket. Formed locally, with an ever-changing lineup, last year’s debut proved vital in terms of the year to follow. With an unorthodox blend of punk and performance art they deliver a ground-breaking display that does not limit itself to the use of musical instruments, random furniture is used as props. Experimental music is naturally woven into the event fabric. Reykjavík’s múm experiment with vocals, beats, sampling and effects; the Icelandic band are a welcome, much-wanted addition to the running order. Eerie and dream-like, the show mixes catalogue with new material, bringing innovation as much as nostalgia to the production. 
Nowhere is the difference between innovation and tradition considered a conflict. Similarly, people adapt to the weather. Cold and rainy, most onlookers at the Cyclops stage are wrapped up in coats and scarves. Turning up in healthy numbers, they are there to support vika. The rising rock soul vocalist and songwriter performs a handpicked string of songs with a full band. With balanced melody and vocal strength, she builds curiosity and keeps the crowd hooked. 
Discovery artists like vika make up a significant portion of a group catered for. Duck Club is the company behind the forward-looking venture. It also initiated the foundation of the Music Hall in 2023, a key venue. CEO and co-founder Eric Gilbert and CMO and co-founder Megan Stoll sit down with CLASH for a chat about running and developing the portfolio of promotion activity. A key aim for the company is to help grow the music industry in Boise, and be an essential part in the development of regional artists. The event was what brought Stoll and Gilbert in the same room, Stoll explains: “We want to follow up on our promise to bands to help develop this market, so we started booking other shows. We decided we didn’t want to do it under the Treefort name and wear that out, so we applied Duck Club to our year-round promotion.”
Gilbert knew he wanted the city to be a useful place for musicians. One way to achieve it was to invite touring acts to the city to help develop the market. “The talent didn’t have a lot of access to outside industry, it was about building up the local scene. At that time, radio was limited, so for lesser-known bands, it was hard to get started. Our whole thing from the get-go was how can we start promoting things we’re excited about, develop this market into a place where we can see the music that we want to see.”
It’s a ‘if you don’t like how the table is set, then turn it’ approach. If you spot something that’s missing, enable it. Rather than sitting back, it’s more effective to take matters into your own hands. The homespun mentality underpins everything that goes on and might also explain the leaning toward punk and alternative genres. Diversity is critical. What might be seen as a bold tactic for a major player is considered second nature. Unafraid to put some money on female headliners, there is no feeling of ‘taking a risk’. Having graced their stage prior to the breaking through, global stars such as Lizzo, along with others, played early gigs there. 
“We’ve always wanted to put on the festival that we want to experience,” Stoll decides. “That allows us to show diversity in people through different types of music. We’ve always been conscious of making sure we have women and women of colour are at the top, that’s really important. That way we can showcase the diversity of people.” Gilbert nods in agreement. “One thing I always say is that we like to amplify what makes Boise great, but also to be aspirational about what’s possible here. Being a father myself, I want my children to grow up in a city that’s diverse.”
The way of thinking could not be better reflected in the lineup. The riot grrrl spirit of The Linda Lindas steal some of the attention. The Los Angeles based quartet are on dynamic form and up for a party. With a bouncy setlist that incorporates original material, cover versions and relentless energy to match, the band run through punk-driven anthems. The crowd is up for a dance – a mini mosh pit. The Linda Lindas are engaging to watch. Never far away from a political agenda, they close the set producing a statement of anti-discrimination, which understandably gets a cheer. A thought-provoking performance. 
In a not dissimilar vein Amyl & the Sniffers go on to win the main stage crowd. The Australian pub rock four-piece have hardly stood still since the release of their self-titled debut album, such is the thirst for the band’s output and raucous live outings. Controlled, fast and furious, their stage presence could not possibly be more alert. With material that offers enough fuel to light up the city, it’s no wonder that faces in the crowd brighten up to tracks like ‘Chewing Gum’, ‘Hertz’, ‘Don’t Fence Me In’ and ‘Choices’. Amy Taylor is a relatable, charismatic frontwoman. 
Meanwhile, singer songwriter Remi Wolf is about to turn heads. Giving a witty, entertaining display the indie pop singer has self-assurance, demonstrating that headlining a festival is a manageable ordeal. The pitch-dark conditions make it easy to focus on the concert in hand and the songs ‘Pitiful’, ‘Kangaroo’ and ‘Disco Man’ alongside others make the Palo Alto-bred songwriter’s concert valuable and insightful. A highlight like no other. 
The Basque Center is packed, and the lively Saturday night vibe is not a bad add on. Leading Mexican indie band Ramona are about to bring lush sounds to the table. The Tijuana sextet give an authentic account of themselves. Sounding tight as a unit, they take Mexican cultural elements and meld them with ‘60s and ‘70s rock. Putting their own stamp on things, surrounded by a friendly Hispanic audience, the sense of warmth is felt though songs that perplex and thrill.
Confidence Man are the ideal act to wrap up the Saturday. The popular Australian electro-pop group’s set that evening is one-of-a-kind; the pulsating twelve-tracks provided by the Brisbane duo is a dance speciality just right for the occasion. The combination of amusing choreography, acted characters and a groovy sound, Janet Planet and Sugar Bones keep things fun. It’s a light-hearted way to round up the day.  
After a remarkable few days spent in the city of trees, it’s time to take a step back and digest. The people of Treefort have given CLASH an awesome run. Honest, idealistic and community-led, it has been truly inspiring. One thing that makes it stand out is the focus on the philosophy. This ongoing, organic way of thinking is mirrored in the approach to working with artists. 
“The other thing that’s different about us is that we invite a lot of bands back every year,” Gilbert enthuses. “We see them as part of the community that makes up the festival. Many of them do return, some have been here a lot. They know how to host their friends once again at the yearly gathering.” He concludes, “we treat them all equally. There’s a full range of big artists with agents of artists who are unrepresented, they always feel like we care about them, we don’t just focus on the big names. We have an artist lounge, you’ll have some local band who have played five shows before in their and next to them is a nationally known touring artist.”
It’s a challenging landscape to navigate, let alone master, but Treefort Music’s Fest’s voyage through fairness, DIY and community makes a real difference and is set to continue for years to come.
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Words: Susan Hansen

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