Review: Tennis - The Troubadour, May 2015.
I first fell in love with indie-pop band Tennis about three years ago after hearing sophomore album 'Young & Old' in my bedroom late one night. After seeing their KCRW-sponsored show at the Troubadour in Los Angeles on Friday night, I can confidently say their ever-alluring stage presence has sealed the deal. Alaina Moore's naturally pop-suited vocals coupled with Patrick Riley's melodious guitar work left me in a welcomed daze of contentment.
The band was supported by a Vancouver-based act called The Shilohs, a group touring their self-titled sophomore album, replete with both infectious guitar riffs and a rejuvenating rock-influenced pop sound.
After some technical difficulties, Tennis took the stage to greet a room full of highly-anticipating fans, all of whom were now illuminated by the glow of a string of decorative backyard lights. Following an opening number, Moore apologized for the trouble with the monitors quickly shifting, "[...] but now it's working!" The duo launched into a fleet-footed setlist, lulling here and there to show gratitude and announce how special a night it was for them.
The husband/wife team of Alaina and Patrick debuted their first album, 'Cape Dory', in 2011 after embarking upon a sailing trip for six months. The result was a beachy, surf-pop record featuring hits 'Marathon', 'Baltimore', and 'South Carolina'. The pair's sound has evolved tenfold since then; a drummer has been added, The Black Keys' drummer Patrick Carney helmed production for sophomore album 'Young & Old', and their recent efforts boast a more refined craftsmanship. The follow-ups to 'Cape Dory' ('Young & Old', EP 'Small Sound', and 'Ritual In Repeat') were praised for rock 'n' roll undertones, 80s synth-pop hooks, and lyrical muscle.
About halfway into the show, a disco ball suddenly whirled into life above us. The crowd was aglow with specks of white light while Riley switched to the keys and Moore drifted front and center to perform the bouncy, retro-inspired track 'Petition'. '50s and '60s-influenced surf-twang has never sounded as fresh as it does today at a Tennis show.
The audience roared as Moore and Riley graciously bowed, signaling the end of the regular setlist. It wasn't but 60 seconds later that the band re-emerged from side stage for an encore. Moore jested, "We already Madonna'd you earlier so we're not going to make you wait again... let's just get to it!" She grabbed maracas and got a little more intimate with the front row while a familiar opening drum-beat kicked off 'My Better Self'.
To close out the show, Moore announced, "For the last song we're going to do something special...I wrote this song a year ago and it took a long time for me to make a song out of it. It's called 'Bad Girls' and we're going to play the demo for you tonight." The last chords of the honeyed ballad were met with booming applause, a manifestation of much-deserved appreciation for a night of great music.
Setlist:
Never Work For Free
Timothy
Dimming Light
Solar On The Rise
Needle And A Knife
Marathon
Mean Streets
Petition
It All Feels The Same
I'm Callin'
Waterbirds
Origins
Encore:
My Better Self
Bad Girls (demo)
You can check out their KCRW performances of 'Mean Streets' and 'Origins' below...
