I have been watching the married duo of Tennis – Alaina Moore and Patrick Riley, who hail from Denver, Colorado – on and off since their first album release in 2011 of Cape Dory. So, when they took the stage at The Bowery Ballroom on Tuesday night, I was expecting to be faced head-on with twinges of nostalgia and simple but danceable retro sounds.
Much to my surprise, I was met with no less than a completely sold out show and an audience that showed nothing but full support and adulation. Their newest release, Yours Conditionally, was greeted with mixed reviews, with many lamenting the ineffective and one-note percussion permeating the album as well as a generally cluttered feeling. However, I can say with confidence that, when performed live, Tennis breaks free of the confines of its digital sound space and plays directly in the faces of critics complaining about the “decline in quality” of Yours Conditionally – nice try, Pitchfork.
Tennis took to the stage with full 70’s disco glamour, reflective of their soothing retro sound, and evoked a “feel good” sense of comfort. Under the soft haze of magenta and periwinkle lights, they launched into Never Work For Free, a tune that opens with a relentlessly twangy guitar that immediately drove the crowd into sing-along mode. Alaina Moore’s soaringly sweet and pure vocals were beautifully offset by a classic 80’s percussion style, reminiscent of a more romantic era. The overall effect was a wave of nostalgia over the entire crowd, and Tennis’ warmly retro sound, interlaced with ribbons of funk, was overwhelming in the best way possible.
Tennis’ affinity for a disco era gone by was not only evident in their music but showed on the stage as well. During I’m Callin’, a disco ball descended from the heavens of the ballroom to really drive home the 70’s indie pop feel. Most of the concert was steeped in simplicity, a characteristic essential to Tennis’ overall sound. The piano was never obtrusive; it stayed calmingly lilting, perfectly accompanied by smooth and citrusy guitar chords. Their light, danceable hits were sandwiched in-between their more heavy and busy new songs, delivering doses of realism in between sweet and tropically-toned popular singles.
The highlight of the concert was the final act of the show: the stripped down, encore version of Bad Girls. Moore’s vocals are the crown jewel of this surprisingly emotional ending. Tennis is famous for a soft, retro sound, and they end their concert with just Alaina on vocals and her husband Patrick on guitar, a combination that perfectly elevates the song’s bittersweet undertones. The entire performance was a crescendo of sound; what starts out with an unassuming bookend track ends in an unctuous and lofty vocal showcase that perfectly rounded out the night. Much like their finale, Tennis may seem like an unassuming cutesy pop duo, but with further listen, their nostalgia in lyricism and dollops of groove and funk will win you over. I highly recommend you give them a listen!
Much to my surprise, I was met with no less than a completely sold out show and an audience that showed nothing but full support and adulation. Their newest release, Yours Conditionally, was greeted with mixed reviews, with many lamenting the ineffective and one-note percussion permeating the album as well as a generally cluttered feeling. However, I can say with confidence that, when performed live, Tennis breaks free of the confines of its digital sound space and plays directly in the faces of critics complaining about the “decline in quality” of Yours Conditionally – nice try, Pitchfork.
Tennis took to the stage with full 70’s disco glamour, reflective of their soothing retro sound, and evoked a “feel good” sense of comfort. Under the soft haze of magenta and periwinkle lights, they launched into Never Work For Free, a tune that opens with a relentlessly twangy guitar that immediately drove the crowd into sing-along mode. Alaina Moore’s soaringly sweet and pure vocals were beautifully offset by a classic 80’s percussion style, reminiscent of a more romantic era. The overall effect was a wave of nostalgia over the entire crowd, and Tennis’ warmly retro sound, interlaced with ribbons of funk, was overwhelming in the best way possible.
Tennis’ affinity for a disco era gone by was not only evident in their music but showed on the stage as well. During I’m Callin’, a disco ball descended from the heavens of the ballroom to really drive home the 70’s indie pop feel. Most of the concert was steeped in simplicity, a characteristic essential to Tennis’ overall sound. The piano was never obtrusive; it stayed calmingly lilting, perfectly accompanied by smooth and citrusy guitar chords. Their light, danceable hits were sandwiched in-between their more heavy and busy new songs, delivering doses of realism in between sweet and tropically-toned popular singles.
The highlight of the concert was the final act of the show: the stripped down, encore version of Bad Girls. Moore’s vocals are the crown jewel of this surprisingly emotional ending. Tennis is famous for a soft, retro sound, and they end their concert with just Alaina on vocals and her husband Patrick on guitar, a combination that perfectly elevates the song’s bittersweet undertones. The entire performance was a crescendo of sound; what starts out with an unassuming bookend track ends in an unctuous and lofty vocal showcase that perfectly rounded out the night. Much like their finale, Tennis may seem like an unassuming cutesy pop duo, but with further listen, their nostalgia in lyricism and dollops of groove and funk will win you over. I highly recommend you give them a listen!