Treefort Music Fest 2026: 3/25-3/29
Magdalena Bay
Geese
Wednesday, March 25th, 2026
FULL FESTIVAL PASSES: www.treefortmusicfest.com/tickets FORTS: www.treefortmusicfest.com/forts NEWS: www.treefortmusicfest.com/newsMagdalena Bay
While the pair may claim California as its terra firma, its true home is in the cloud/s, from where the two emit and output the unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and bombastically warped neo-hooks for which the group has become celebrated. Transmitting in both the audio and video realms, Magdalena Bay is an entity adroitly suited for these times, caught in a haze of the known and felt while pushing sonic landscapes woven with the now into the next.
Having met as teenagers in a high school music program in their hometown of Miami (Tenebaum having moved to Florida at age 1 from Buenos Aires), each quickly recognized a kismet and kindred spirit in the other, resulting in the formation of a band, the prog outfit Tabula Rasa, as well as a romance. Lewin was a self-styled guitar shredder armed with his dad’s prog and concept rock records — The Wall, The Bends, Genesis, Fiona Apple — while Tenenbaum was a pianist and singer dipping toes in indie (Modest Mouse) and emo (My Chemical Romance) rock as well as pop made by princesses (Shakira, Britney). Both could read music and Lewin had even studied music theory, also teaching himself how to produce, record, and mix while making two Tabula Rasa records. The pair took a brief break from dating and headed to different colleges but kept the band together, often trading eight-hour bus rides from Penn to Northeastern and vice versa to rehearse, before eventually realizing two things: one, their relationship was too real to be denied, and two, no one young likes prog. “It was like, ‘No one’s listening to our prog music, what a shame,’” Tenebaum says with a laugh. “We were excited to try something different. So we got into the mechanics of ‘what does it mean to write a pop song?’ and ‘what is this craft?’ and that was the beginning of Magdalena Bay.”
“I remember thinking, ‘Pop music is simple, so we should be able to make it,’” Lewin says. “And then, of course, there’s way more to it, lots of complexities in the writing and production that I wasn’t aware of. We had no artistic perspective at that point because we were still figuring out the genre and how to make something that resembled pop music before we could think about how we could make it interesting. So that was our early process.”
Holding tight to that all-encompassing genre descriptor (“We make pop, but what really is pop anyway?” Tenenbaum says, while Lewin counters, “We’re a pop group making pop music; all the rest is implied…I think it’s fun to imply that pop music is a wide range of things”), the duo released a grip of EPs and singles before launching its debut album Mercurial World in the fall of 2021. Many outlets, while uniformly praising its melodic hooks, sing-song vocals,
and meticulously-crafted production, called it “synth-pop,” which is probably the most specific subgenre Lewin and Tenenbaum will allow. Regardless, the mark had been made, and Magdalena Bay soon began to gather respect, adulation, and fans in the true currency of the day: streaming numbers, social media followers, support slots, festival appearances, and creative collabs. All the while, aided by its highly stylized online aesthetic and internet presence, the band was inching closer to realizing something of an artistic perspective after all. “We love extending the world of our music past sound into videos or a website or graphics or whatever it might be,” Tenenbaum says.
“We like to think of them as one and the same, but I think it has to start with the music,” Lewin says. “We’re trying to create an atmosphere or an emotional quality with it.” “It’s the jumping off point that inspires the rest,” Tenenbaum agrees. “But as the years have gone by, as we’ve made more and more videos and such, the process has become more integrated. As we were finishing the music for this new album, we were having visual ideas, which was never the case before. I guess people call it ‘world-building.’”
The world of Imaginal Disk and its 15 tracks of hooky, thumping, irresistibly moody, and intelligent songcraft is unlike any notion of pop music you may be able to conjure. Written predominantly in 2023 from sketches begun during gaps in touring over 2021 and 2022, and then recorded primarily at the band’s home studio in Los Angeles before being mixed by Dave Fridmann (MGMT, Tame Impala) in rural New York — marking the group’s first time working with an external engineer — the album keeps one foot firmly in the future while revisiting the recent past in a completely fresh way. If the duo were to list its various inspirations and influences for the album in a scattershot list of nonsequiturs, it might include Joni Mitchell, Star Trek: The Next Generation, Jean-Paul Sartre’s plays, The Beatles, Lacanian psychoanalysis, In Rainbows, Margaret Atwood, and the Polish novel Solaris.
While writing Mercurial World the band had listened almost exclusively to contemporary pop music, but while working on this album the duo admits to avoiding any new music almost entirely. As a result, Disk abounds with acoustic drums and live instrumentation, lending an organic warmth and cohesiveness to its layers.
“While making this record, we were more open to experimenting and not sticking to the pop formula, and I think we realized what a Magdalena Bay song sounds and feels like,” Lewin says. “We’ve developed something unique to us and we’ve formed our sound or style, and we learned that the only way we can make something that we feel represents us is to do it on our own.” “Something about this music feels a little different,” Tenenbaum adds. “We’re not as worried about sticking to a prescriptive structure, and it felt very free making these songs. Maybe it’s just taken us this long to finally combine all the facets of what we listen to but also what we like and what we want to make as musicians. The process of making music together is so natural that when we sat back and sequenced everything and listened, it was almost like the album existed in and of itself. Yeah, it’s probably a little more experimental, but hopefully people like that. This is it in its final form, and the rest will just have to be what it is.”
Geese
New York City’s Geese return with their universally-acclaimed third studio album, ‘Getting Killed’. After being approached by Kenneth ‘Kenny Beats’ Blume at a music festival, Geese tracked the album in his LA studio over the course of ten fast-paced days. With scant time for overdubbing, the finished project emerges as something of a chaotic comedy, shambolic in structure but passionately performed, informed by an exacting vision. Garage riffs are layered upon Ukrainian choir samples; hissing drum machines pulse softly behind screeching guitars; strange, lullaby-esque songs are interspersed with furious, repetitive experiments. With ‘Getting Killed,’ Geese balances a disarming new tenderness with an intensified anger, seemingly trading their love of classic rock for a disdain for music itself.
Father John Misty
After a decade being born, Josh Tillman is finally busy dying.
Mahashmashana is the sixth album by Father John Misty.
It was produced by Josh Tillman and Drew Erickson.
It was engineered and additionally produced by Michael Harris.
It was arranged by Drew Erickson.
It was performed by Josh Tillman, Drew Erickson, Jonathan Wilson, Dan Bailey, Eli Thomson, David Vandervelde, Chris Dixie Darley, Jon Titterington, and Kyle Flynn.
It was executive produced by Jonathan Wilson.
It was recorded and mixed at Five Star and East/West, United Studios, and Drew’s House.
Mahāśmaśāna (महामशान)— great cremation ground, all things going thither
flipturn
For flipturn, success didn’t arrive overnight. The band, comprised of Dillon Basse (lead vocals, guitar), Tristan Duncan (lead guitar), Mitch Fountain (synth, guitar), Madeline Jarman (bass),
and Devon VonBalson (drums), grew steadily with every gig, from college house shows in their home state of Florida to festival appearances at Bonnaroo, Lollapalooza, and Austin City Limits, to national recognition from Jimmy Kimmel Live, ABC News, and The Washington Post – earning the Jacksonville-based band an international reputation as an indie rock powerhouse. By the time flipturn released their debut album, Shadowglow, they’d become genuine road warriors while still in their mid-20s, supporting the record with a nonstop string of tour dates. That dizzying experience inspired the band’s second release, Burnout Days. Caught halfway between 21st century indie rock, New Wave-inspired nostalgia, and rhythmic alt-pop, Burnout Days finds the beauty that exists between five friends, even in times of burnout.
Amber Mark
Raised across Europe, Asia, and North America — and now splitting time between New York City and Los Angeles — Amber Mark has woven her deep knowledge of international styles into a stunning musical tapestry, revealing new intricacies with every listen.
Following the release of her debut studio album Three Dimensions Deep, and critically lauded EPs 3:33am and Conexão, Amber has racked up more than 750M+ global streams, and even received a cosign from Sade. Three Dimensions Deep arrived in 2022 to massive critical acclaim. The project earned recognition as one of the best of the year by both VARIETY and BILLBOARD, and was awarded a score of 8.0 by PITCHFORK, who lauded Amber for her “exceptional voice and songwriting.” Following the release, Amber embarked on a sold-out tour across the U.S. & EU / UK with performances at major festivals including Coachella, Outside Lands, and Pitchfork Festival.
Prior to Three Dimensions Deep, Amber produced a series of mesmerizing covers over lockdown in 2020, including outstanding renditions of “Heart-Shaped Box” by Nirvana and “Thong Song” by Sisqo. Following this “Covered-19” series, Amber collaborated with Empress Of on the protest song “You’ve Got to Feel,” earning Annie Mac’s Hottest Record, “Tune of the Week,” and a spot on the Radio 1 playlist. Before that, Amber was featured on legendary DJ Paul Woolford’s new piano-house track “HEAT,” again snagging Annie Mac’s Hottest Record and a long run across the Radio 1 and 2 playlists.
Amber has worked with several brands, including Chanel, Aperol, Patrón, Reformation, Ecco, and more. Now, with a combined social reach of over 1.1M, she’s grown a loyal global fanbase all eager for her next move.
St. Paul & The Broken Bones
St. Paul & The Broken Bones are a powerhouse soul ensemble from Alabama known for their electrifying live shows and impassioned vocals. Formed in Birmingham in 2011, the band features Paul Janeway (vocals), Jesse Phillips (bass), Browan Lollar (guitar), Kevin Leon (drums), Al Gamble (keyboards), Allen Branstetter (trumpet), Chad Fisher (trombone), and Amari Ansari (saxophone).
Their new self-titled sixth album marks a creative renewal—melding the band’s adventurous spirit with a return to soulful, song-focused roots. Recorded at the legendary FAME Studios and produced by Eg White (Adele, Celine Dion), the record blends psych-funk grooves, gospel-tinged ballads, and cinematic rock flourishes. Tracks like “Sushi and Coca-Cola” and “Going Back” reflect both personal introspection and the band’s deepened identity after a decade of evolution.
St. Paul & The Broken Bones have shared stages with The Rolling Stones, Lizzo, and Black Pumas, and performed at major festivals like Coachella, Glastonbury, Lollapalooza, and Bonnaroo. Even Sir Elton John took notice, inviting them to perform at his Oscar party. Blending rock & roll, soul, R&B, and more, the band continues to captivate audiences around the world.
INJI
Turkish-born, NYC-based artist INJI (Inci Gürün) is flipping the script on dance-pop — fusing whip-smart lyrics, floor-shaking beats, and razor-sharp wit into club anthems that hit just as hard intellectually as they do on the dancefloor. A classically trained pianist turned Wharton grad, she exploded onto the scene with her 2022 viral hit “GASLIGHT,” a cheeky, house-infused track that cemented her as a sharp-tongued, satirical voice in dance music.
INJI’s sound thrives in glittery chaos — a heady blend of biting humor, cathartic release, and rave-ready euphoria. Tracks like “BELLYDANCING,” “MADELINE,” and her latest tech-house heater “BOYS AIN’T SHIT” show her knack for turning everyday messiness into anthems of empowerment and release.
INJI’s debut mixtape SUPERLAME lands October 24, 2025. Think: a sonic cocktail of dizzying highs and delicious chaos, shaken hard and served with side-eye. Breakups, bad dates, existential spirals — all spun into dance-floor delirium.
Fresh off a sold-out headline tour and festival slots that lit up Lollapalooza Paris, Osheaga, and Outside Lands, INJI is commanding global stages with her signature rave-as-confessional style. As Rolling Stone UK put it:
“Viral club artist Inji turned her tent into a late-afternoon rave, pouring shots into the mouths of those on the front row while performing her satire-fuelled party bangers; as a precursor to TikTok hit ‘GASLIGHT,’ she had crowd members calling out their awful exes.”
