In the actual sport of tennis, the term "love" is a bad thing. It means that you've achieved nothing, zero, zilch. But for Patrick Riley and Alaina Moore of the Denver husband/wife-duo Tennis, love has proved a hardened, winning formula. Their meteorically-swift rise into the national-spotlight started abruptly after two 7-inch releases back in mid-2010 caught the attention of formidable independent label Fat Possum Records. But urban lore also played a hand in their surge to popularity. Back in 2009, in what can now only be deemed a "fateful voyage", the lovebirds embarked on a 7-month seafaring odyssey together aboard a 30-foot sailboat - from whence much of their current sound, catalog, and legend was born. From there, generous acclaim and buzz has followed from the likes of NPR, Rolling Stone, and Guardian - as well as an opening slot on tour with new labelmates The Walkmen. The rookie band (whose first full-length debut album Cape Dory was just released on 1/18/11), complete with their "surf-prom" Brenda Lee/Shirelles playbook, appear poised to springboard into the indie slipstream.

But among their own flock, support has been notably harder to come by, mainly because their baptismal stage on the local scene was thwarted by the quick trigger of national press. So, in an effort to seemingly beef-up their local cred, Thursday night's show at the Hi-Dive in front of the hometown crowd seemed a befitting, if not bold, statement about their intentions to win-over any forlorn cynics. The musicianship of the band made early waves toward this end from the outset. Laced with an urgent desperation, the band's silvery sound dwarfed expectations. Moore's angelic vocals, coupled with Riley's deft guitarwork, cascaded like a fresh summer breeze. If that sounds schmaltzy, too bad. The band works hard and it shows. Opening with "Sea Farer", the dynamics were crisp and precise, sans distortion. "Take Me Somewhere", full of swingy-pop and ever-shifting time signatures, evoked a tinge of Mazzy Star, only with more of a pulse. Next up, the delicate interlude of "Pigeon" introduced a syncopated beat and a more sedate unexpected refrain. "Marathon", with it's "Teenager In Love" Dion-inspired melody, was as solid live as its album counterpart. As the set closed, the band grew decidedly more contemporary in their approach, ending with "South Carolina", "Hard Times" and "Water Birds". Each song offered a somewhat muddy trajectory, leaving purported influences more cryptic and the stylings of the band far less calculated.

Overall, Tennis might garner too large of a groundswell to keep the thrill alive locally. Perhaps fairy tales this fanciful begin (and end) in L.A (or Hollywood)? On the other hand, maybe the local banter about Tennis is simply just the markings of worshipful envy? After all, it's easy to dislike anyone who takes a 7-month vacation.

-K.K. Coe

Tennis
Hi-Dive, Denver, CO
February 10, 2011

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