by Josh Gross
Truth be told, Treefort started a little sluggish this year. While last year’s Finn Riggins performance at Neurolux kicked things off like the crack of a starter's pistol, this year’s set at El Korah Shrine wasn’t quite as electric.
Nor was the lengthy setup time that pushed back the start of Hollow-Wood’s set.
When things really kicked into gear for this old harrumph was when the clock struck Pony Time.
The Seattle two-piece played sloppy, rowdy garage-rock, with bass player Luke Beetham tearing up the fretboard on a Danelectro longhorn bass and drummer Stacy Peck keeping four nailed steadily to the floor, even when Beetham’s guitar cord quit on him. Peck kept it going for nearly two minutes while Beetham sorted it out and the band picked up exactly where they left off: rocking.
Next up was Stickers, which busted out alto sax and “the robot pedal” to make some good weird.
Then I rolled over to The Crux to catch the recently re-transplanted-to-Boise Death Songs.
Last time I saw the band, it was a one-man project. Those “killer” songs are now played by a four-piece and are all the better for it, especially the band’s single, "Ophelia."
Frontman Nick Delffs transferred some of his guitar riffs to the electric piano, laying his guitar across the top and slapping it for the tone. At times his hands slammed back and forth between the piano keys and the guitar like they were bongo drums. It was good stuff. Stay tuned to Boise Weekly for a video breakfast interview with the band.
From there, I headed back to Red Room to catch the mighty White Lung. Any rocking that earlier portions of the evening had lacked was made up for and kicked in the teeth by the Vancouver, B.C., band’s performance. It was loud, screechy, ballsy and completely lung-scorching.
The poor suckers in the front row all left with seriously bruised mid-thighs from being slammed into the speakers. But they all wore their limps like a badge of honor. While the rest of the world slept, they saw White Lung.
And that was just the first day.