by Tara Morgan
San Francisco’s Grass Widow blew into Boise last Saturday after a nine-hour jaunt from Seattle. Though the all-girl trio looked a little bleary-eyed from the long drive, they took to the Neurolux stage and jammed out their ethereal, harmony-laced blend of post-punk and psychedelic surf rock with precision and an air of approachable warmth.
The girls started off their set with a couple of tracks from their two 2009 self-titled release, before launching into the single “Fried Egg” off their latest record Past Time (Kill Rock Stars).
Leaning in to yell over Hannah Lew’s fast-paced, surf-influenced bass on the song “Landscape,” one of my pals remarked that the drummer, Lillian Maring, had the erect posture of someone who spent her formative years in drumline. Whether or not that’s true, it’s obvious the group has spent some time studying musical theory. Grass Widow is not a fuzzed out, three-chord garage-rock act. Their musical arrangements are complex, multi-layered and well-executed, without trudging into wanksville.
After their set, I was discussing the differences between Grass Widow and another harmony-driven all girl rock trio, The Vivian Girls—whose set I caught at Neurolux last year—when a friend made a comment that stuck with me. Just because both acts are all-girl trios doesn’t mean they should be lumped into the same category. So true. Grass Widow has cultivated its own completely unique sound, one I’m psyched to see sprout in new directions the next time they make the long drive out to Boise.
Check out video of Grass Widow performing "Landscape" below.