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Live Reviews

The Sonics and Wire at Meltdown Festival 2011

Southbank Centre, London
18th June 2011

The now prestigious Meltdown is an annual festival staged at the Southbank Centre in London. In the past, the festival has been curated by the likes of Scott Walker, Ornette Coleman and David Bowie. Jeff Buckley’s final appearance in the UK, before his death, was famously at Meltdown in 1995 but this year’s event was organised by former lead singer of The Kinks, Ray Davies and his line up didn’t disappoint.

Supporting American garage rock legends The Sonics in the Royal Festival Hall are art punk Situationists Wire. Embarking on a set filled with flurries of distortion and clanging drones, Wire’s performance contains several tracks from their latest album. The radical four-piece continue to wind down to punk’s underworld with empowering chimes and jangles. Lead singer Colin Newman’s pessimistic vocals in the title track of new album ‘Red Barked Tree’ is a highlight of the evening for the London band. ‘Outdoor Miner’, from the classic 1978 album ‘Chairs Missing’ is as gloomy and heartfelt as ever.

The London band return to the stage from an encore with their final song ‘Pink Flag’. Despite enthusiastic demands from the crowd for more songs from the band’s earlier albums, Wire are more interested in continuing to experiment and play newer material. Emphasising this new direction bassist Graham Lewis ends the song by telling the Southbank crowd that “that’s about as pink as it gets”.

Introduced by Ray Davies as a group that are a “big part of American history” and “a rock band that were around way before The Kinks even had a car” The Sonics enter the stage. Opening with thunderous renditions of The Brandos’, ‘He’s Waiting’ and Barrett Strong’s ‘Money (That’s What I Want)’ it is plain to see why the band’s stripped-down approach has influenced a lot of people in the rock music world, including the likes of Iggy Pop and Kurt Cobain.

Songs like ‘Cinderella’ and Little Richard cover ‘Keep A-Knockin’ (But You Can’t Come In)’ are delightfully raucous and garage rock classic ‘Strychnine’ prompts a large amount of the audience to swarm away from their seats and be able to dance closer to the stage. This is followed by the exhilarating ‘Lucille’ and the gut-wrenching ‘Psycho’. The latter is frantically performed and filled with lead vocalist Gerry Roslie’s signature neurotic screams.

Richard Berry’s warming ‘Louie Louie’, suitably the song that led to Ray Davies conceiving ‘You Really Got Me’, is the first song performed by the band after the encore. The sinister ‘Bad Attitude’ is the best of the bunch of new songs available on the latest EP release ‘8’ which is followed by their flagship tune ‘The Witch’. Raw and penetrative, the performance of this song epitomises what the Tacoma legends were all about. The Sonics were way ahead of their peers and predecessors, and tonight they lit the room. They played hard, they played fast, and it’s good to see them back.

Alex Penge

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Live Reviews

Set Your Goals live

Bristol O2 Academy 2
16/05/11

Before their appearance at the punk rock shindig of SLAM DUNK, Set Your Goals rolled up into Bristol bringing along some friends and hopefully some fresh tracks to entertain the masses that have ascended upon the venue.

The fresh faced horde crammed up against the barrier seemed quiet unresponsive tonight and was quite noticeable for the support bands. I managed to miss Decade, who opened up the night, but caught the start of This Time Next Year who despite churning out some cheery and buoyant pop-punk failed to lift the atmosphere.

Massachusetts’ quintet A Loss For Words were up next and faired a tad better. AL4W have been on the scene for a while and with the band being added to Rise records roaster it seems they are now getting some reverence from their peers. The band possesses an abrasive edge that is flawlessly surrounded by huge melodies and really stands out on ‘stamp of approval’. Their performance tonight AL4W have potentially gained some new fans. Its tonight’s headliners the crowd are eagerly waiting for and Set Your Goals finally take to the stage to a boisterous reception.

Opening up with a brand new track, Set Your Goals blast into action and soon enough front men Jordan and Michael immediately charge towards the front, clambering on the monitors and getting right up against the crowd in unified force. Several times I had to dodge Jordan as I was crammed in the nonexistent photopit space between the monitor and barrier while also trying to photograph the band. Being so close I experienced the full force of the band, and I wasn’t surprised when they exploded into ‘Look Closer’ that it really took off, with both the front men thrusting their mics to the crowd who were enthusiastically singing word for word.

The bands energy sustained further playing old favourites such as ‘Goonies’, and from Mutiny! ‘Work in Progress’ that seamlessly progressed into ‘We Do It for the Money, Obviously!’. It was infectious to see the contrasting figures of Jordan and Michael, synchronising the vocals seamlessly, switching from mellifluous melodies to hardcore shouts, and conveyed perfectly when the band went through tracks from ‘This Will Be The Death Of Us’ such as the fiercely sharp ‘The Fallen’, the singalong anthem ‘SummerJam’, and the dynamically potent ‘Our Ethos: A Legacy To Pass On’. With the eminent release of their new album ‘Burning at Both Ends’ Set Your Goals played another new track titled ‘Start The Reactor’ which on the surface may lack the same punch that the band are known for in previous releases, however it did still retain that contagious melody so prevalent so many of their songs.

Their penultimate and heaviest song ‘Gaia Bleeds’ we even get to see guitarist Audelio Flores stepping to roar out Jon Gula’s part. The band finally ends with crowd favourite ‘mutiny!’ which gets the best cheers tonight, and also the most raucous reaction. Even with the timid atmosphere at the start of the show, it was the sheer energy of Set Your Goal’s delivery that really shined through tonight.

Words and photos Lionel Taplin

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Live Reviews

Animal Collective live at The Winter Garden

Eastbourne
16th May 2011

Animal Collective at the Winter Garden 2011Despite recently releasing their two most accessible albums to date in Strawberry Jam and Merriweather Post Pavilion, Animal Collective continue to break away from common ground. This is reinforced by tonight’s performance at the Winter Garden, an usual concert venue in sleepy Eastbourne. Support tonight comes from (Angel) Deradoorian of the Dirty Projectors and Western Saharans Group Doeuh.

Led by guitarist Salmou Baamar, Group Doeuh are a family consisting of singer Halima Jakani (Baamar’s wife) and keyboardist Jamaal (Baamar’s son). Their Mauritanian roots partnered with Western rock influences provide a refreshing supporting act. Salmou Baamar’s homages to James Brown and Jimi Hendrix are evident as he excites with complex and acrobatic electric guitar playing.

Entering the stage to a foray of electronic loops and colourful visualisations, Animal Collective introduce themselves with two new songs that are filled with hazy vocals. ‘Change’ and ‘Stop Thinking’ maintain the Western African feel from Group Doueh’s performance, combined with Can and Faust influences. The recognisable ‘Did You See the World?’ is next from 2005 album Feels. This is one of the last songs from the band’s varied catalogue to be performed this evening and is well appreciated.

Deakin’s dramatic synthesiser and Panda Bear’s flickery samples lead into ‘Take This Weight’ and puts the band firmly in progressive territory. The fun and friendly Merriweather Post Pavilion track ‘Brother Sport’ is echoed and savoured by the East Sussex crowd. New songs ‘Mercury’ and ‘Frights’ are testing and are a challenge for people accustomed to the band’s more accessible material from circa 2007 onwards.

An energetic rendition of ‘We Tigers’ from the breakthrough 2004 album Sung Tongs is filled with the tribe-like screams and ritual dance imagery that we’ve grown to love from the Baltimore four-piece. Arguably one of the band’s most famous songs ‘Summertime Clothes’ suitably follows. The crowd gradually evolves into a cheerful dancing parade. Certainly the highlight of the evening.

The final songs after the encore, ‘I’d Rather’ and ‘Little Kid’, are droning affairs however and there are some signs of disappointment with the omission of many favourites such as ‘My Girls’, ‘In the Flowers’ and ‘Fireworks’. Tonight’s set is almost identical to the band’s set at their curated ATP festival event in Minehead. Filled with their most experimental songs yet, this is certainly not an evening for the passive Animal Collective fan.

Words and Photo: Alex Penge

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Live Reviews

The Bookhouse Boys live

Hoxton Bar & Kitchen, London
2/6/11

the-bookhouse-boysTonight, the concept of music as a form of catharsis is made flesh in a darkened room in Hoxton. Steve Smyth may only be armed with an acoustic guitar and an impressively straggly beard, but he also seems to have a fair few inner demons to exorcise, and they’re not gonna come quietly. Alternately strumming and savaging his guitar, his Jekyll and Hyde approach to performance is just what we need to shake us out of our post-work slump.

With her debut album yet to be released, Alice Gold is already dividing opinions like Marmite, but tonight she makes a convincing case for being one to watch. Coming across like PJ Harvey’s angelic-looking little sister, her full-throated wail and raw, psychedelic guitar sound can’t hide the fact that ‘Runaway Love’ and ‘Orbiter’ are pretty catchy tunes.

The Bookhouse Boys (eight guys, one girl) both sound and look like something out of a Tarantino movie; most of them smartly dressed in black, and peddling a deliciously dark surf sound that incorporates a mariachi-esque brass section and bursts of squalling guitar. They sound impressive enough on record, but live, songs like ‘Dead’ and ‘I Just Can’t Myself’ are lent a stronger sense of ferocity and drama; Catherine Turner’s cold croon a contrast to her co-vocalist (and guitarist) Paul Van Oestren’s impassioned howl. He sounds like he has a fair few tales of liquor-stained hell weighing heavy on his conscience, and tonight we are the congregation for a myriad of confessions set to song. Truly, Nick Cave would be proud.

Just as we think we have them pegged, they crowd around the microphones for some acapella six-part piece harmonies, on a song from their recent second album ‘Tales To Be Told’. Lazy comparisons will be made with the Arcade Fire, but The Bookhouse Boys are coming from a much darker place, and sound all the more enthralling for it. With packed performances like these, you get the feeling that venues the size of the Bar & Kitchen could soon be very much behind them.

Alex Gosman

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Live Reviews

The Great Escape Festival
 live review

Brighton, UK
12th-14th May 2011
Words and Photo: Alex Penge

YuckBilled as ‘Europe’s leading festival for new music’ The Great Escape aims to recapture the intimacy factor of the Great British festival. This year’s headline coups include indie heavyweight Sufjan Stevens, instrumental hip hop innovator DJ Shadow and tropical punksters Friendly Fires.

The variety of artists on offer is certainly the USP of the Brighton-based event as legendary punk poet John Cooper Clarke opens proceedings. Failing to disappoint, the Factory Records associate delivers his wit filled recollections, including crowd favourite ‘Evidently Chickentown’.

Maintaining the festival’s tagline for new music, Echo Lake provide an onslaught of guitar combined with lead singer Linda’s impulsive harmonies. ‘One to watch’ billing for spoken word artist Ghostpoet is just deserves. ‘Us Against Whatever Ever’ and ‘Cash Carry Me Home’ preach through a vulnerable and sozzled British urban persona that is refreshing and poignant.

Next up are Warpaint and their tribal homage to The Slits is welcomed by the strong Corn Exchange crowd. The crowd is also treated with new single ‘Jupilee Real’ in what looks like a busy year for the band since the release of their acclaimed debut album The Fool last year.

The Radio Dept. supply the shoegazed chimes of the weekend with sheer Chapterhouse-like concentration of their pedal set up throughout. A misty-eyed set from The Antlers is without doubt the best performance of the weekend. Peter Silberman and co’s dream pop is able to spark spiritual imagery. Surely the three-piece are destined for big things in 2011, just like the year their Brooklyn compatriots The National had in 2010.

Nostalgia comes from the globally represented Yuck. Fresh from a tour around the U.S. the youthful band recapture late 80s indie rock of Dinosaur Jr. and Sonic Youth combined with the distorted blares of My Bloody Valentine. The roaring chorus of ‘Get Away’ and the resounding ‘Hoiling Out’ are the highlights of a set filled with slacker pop melody.

Rough Trade’s Frankie & the Heartstrings close the weekend. The Sunderland group bring their own brand of anthemic C86 pop that Josef K would be proud of. Energetically climbing on the Hector House speaker system, lead singer Frankie Francis introduces the next song of the evening ‘Ungrateful’ to the intimate crowd. Blissful and delicate, the Orange Juice roots can be seen through ‘That Postcard’. A new song ‘Berlin Calls’ concludes the set and is almost 2011’s answer to ‘Kennedy’ by 80s indie pop legends The Wedding Present.

The Great Escape is a great alternative to the British festival circuit and certainly one that can no doubt claim to be the cleanest. With over 300+ bands at your disposal playing across 30 venues, the festival is sure to cater for music enthusiasts interested in seeing up-and-coming indie artists. Just be warned, expect to trek!

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Live Reviews

All Tomorrow’s Parties curated by Animal Collective

Butlins, Minehead
May 13th – 15th

This year’s annual spring trip to Butlins was prefaced by the sad news that this may be the last ever May ATP. The reasons for this aren’t clear cut, but dwindling ticket sales over the past few years and the rapid growth of ATP as a major events planner has forced the festival to explore its options. For now, emphasis is being shifted to two Butlins weekends in December, as well as a new London based event that shall be curated this year by Portishead. I, for one, shall be sad if this is the last of the May events, but this year’s curators Animal Collective ensured that the weekend will be one to remember.

Despite the usual bitchy message board debates following the announcement, Animal Collective make perfect sense to me as festival curators. Not only have the band been a mainstay of leftfield independent music for over a decade, but they’ve just finished promoting their biggest critical and commercial success, Merriweather Post Pavilion. On top of this the band are key players in a wider community of independent music, with plenty of friends in like minded bands and, most importantly, an eclectic and interesting taste in music. Essentially, these are all factors which are crucial to curating a good ATP and Animal Collective tick all of the boxes.

As if to demonstrate the band’s eclectic music taste, Friday’s programme sees performances from Brooklyn noise mongers Black Dice, reggae / dub legend Lee ‘Scratch’ Perry, forward thinking electronic artist Actress, and one half of OutKast, Big Boi. While all of these artists inspire in a variety of different ways, it’s the latter which stole the show. This may not have been Big Boi’s usual crowd, but he is nonetheless electric as he treats the crowd to a range of OutKast’s greatest hits as well as the highlights from last year’s solo effort Sir Lucious Left Foot: The Song of Chico Dusty. His energy is ramped from the beginning, as he races across the stage engaging both sides of the crowd. As a huge OutKast fan it’s a welcome surprise to see so much of the group’s classic material performed, with the likes of ‘B.O.B.’, ‘ATLiens’ and ‘Rosa Parks’ all delivered with style and going down a storm.

After some familiarly messy scenes in the Crazy Horse rounding off Friday’s entertainment, Saturday begins with something a little different. Making use of the on site swimming pool at Butlins, there is a two hour session of ‘Wet Sounds’ which unexpectedly turns out to be one of the weekend’s highlights. This basically involves eerie ambient music being pumped around the swimming pool and underwater, with different sounds appearing underwater to those on the surface. Before the session was up there was even a run through of the recent Panda Bear album, Tomboy, which couldn’t find a more perfect setting to suit its woozy, tropical textures.

Getting back to the dry, yet curiously foul smelling (it’s definitely the hot dogs) Butlins Centre stage, Meat Puppets are on and they’re performing their 1985 cult classic Up On The Sun. The band joke that they don’t even remember the year 1985, let alone this album, yet they seem to get through it without a hitch. Performances form Ariel Pink and Beach House are to follow, and while they prove popular, have never really captured my interest and this was really no exception. Having opted to see Animal Collective perform on the Sunday instead of Saturday, this leaves Detroit techno legend Omar S to round off Day two with a tasty 2 hour slot over in Reds. While perhaps drawing from a more varied range of styles than I had expected, the producer shows why he is one of the best in his field with the selection of a lively and crowd pleasing set.

Offering something completely different again, Sunday morning begins with a performance from West Sahara’s Group Doueh. Having very limited knowledge of the band‘s work beforehand, they exceed all expectations with their fusion of western rock structures and Turkish Psychadelia. A mixture of almost gospel like female vocals and a guitarist who shreds the electric guitar on top of his head with the most stoic of facial expressions, make this very engaging stuff, in turn sending dozens of audience members queuing for the merch stand.

Moving on from a group that had seemed so humble on stage and grateful of their place on the billing, it becomes time for Zomby to pull one of his now notorious no shows. While clearly a talented producer, Zomby’s behaviour once again reeks of disrespect and once again leaves punters (and fans!) grumbling at his lack of consideration for everyone concerned. Not only is it a shame not to have seen him perform, but a slap in the face to Animal Collective who invested faith in him, and all the other bands that the group weren’t able to choose to accommodate him. There will come a time when promoters become tired of giving Zomby a chance, and to be fair, that time is probably overdue.

Celebrating their sensational new album, Eye Contact, the weekend’s penultimate act are Gang Gang Dance. The experimental Manhattan quintet have hit a real landmark in their career, producing an album that encompasses and extends on all that they have done so well in the past. The strength of the band’s newest material really shines through in this performance, with standout tracks ‘Glass Jar’ and ‘MindKilla’ closing the set on a real high before the weekend’s curators take to the stage.

In many ways Animal Collective are a frustrating live band, and I think it’s safe to say their performances over the weekend seemed to divide opinion. The band appear to have no interest in ever playing a greatest hits set, in fact, the weekend’s set lists were built almost entirely of completely new material with a sprinkling of crowd favourites including ‘Brothersport’, ‘Summertime Clothes’ and ‘Did You See the Words?’ What’s more, despite having two slots over the weekend, the band apparently performed almost exactly the same set both nights which perhaps seems a little wasteful. Even so, Animal Collective’s live show has never really been about individual songs, and with a little perseverance their immersive performance seems to win over the majority of the crowd. With elusive fourth band member Deakin now welcomed back into the line-up, the band are now playing almost like a traditional rock band. Gone are the synth podiums and tall flashing lights, replaced by an actual drum kit with Panda Bear at the helm. It’s nice to see that the band look ready to move in yet another direction, and their performance hints at something potentially very exciting on the horizon.

While this feels like an odd, perhaps transitional stage for Animal Collective as a band, it’s precisely this kind of will for change and experimentation that is completely characteristic of the weekend’s events and indeed ATP. What the future holds for this wonderful festival remains to be seen, but one thing’s for sure, I’ll be following it on whatever path it takes.

Sleekly Lion

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Live Reviews

Bring Me The Horizon – live

Bring Me The Horizon
Brixton Academy
30th April, 2011

Yep, Bring Me The Horizon at Brixton Academy. How did such a band from Sheffield get to this point? Well, an exponentially expanding fanbase and the stunning of many a cynic and critic by producing two really-quite-outstanding albums (the last two) have really put the band on the map of Great Modern British Rock Bands. An accolade that is recognized pretty much the world over as the band’s success continues to increase in countries like the US and Australia. Add to all of this the fact that the band’s latest single ‘Blessed With a Curse’ has been added to the BBC Radio 1 daytime Playlist and you have all the ingredients for a kick-ass sell-out Brixton Academy performance. Well actually the band have brought even more to the table tonight with an unbelievable stage show which includes pyro, the signature massive flashing BMTH lettering, banners that fall to the ground at strategic points and some massive black balloons which descend and are bounded around by the crowd during ‘Blessed With A Curse’ creating a surprisingly ethereal and peaceful effect.

But aside from the massive production, BMTH put on a flawless performance, running around the stage as energetic as ever, clambering speaker stacks and generally making the audience not quite know where to look. At least everyone can hear the thunderous sounds which are entrancing all present tonight. The band have only just enlisted Architects’ drummer Dan to fill in for BMTH member Matt who has broken his arm yet you really wouldn’t know that they’ve only been playing together for two days. Everything is tightly wound and precise. Guitarist Jonah also proves his worth yet again providing vocals on ‘Fuck’ in place of Josh from You Me At Six who sings on the track on the album. It’s the new tracks from ‘There Is A Hell…’ that stand out in the live setting, sounding absolutely huge.

An encore which includes a spine-tingling rendition of ‘Crucify Me’ and eternal crowd-pleaser ‘Chelsea Smile’ goes down as well as the rest of the band’s set and this evening ends on a high which you get the feeling was needed by a band who have been plagued with misfortune on this run of dates. But the powercut in Bristol the night before that meant the band were forced to play acoustic and the breaking of drummer Matt’s arm a few nights previous don’t matter one bit tonight. It all comes together in spectacular fashion.

Winegums

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Live Reviews

Live review: Gang of Four

Heaven, London
02.02.11

Words and Photo: Alex Penge

Influential, imitated and important. A couple of words that are usually thrown around when describing Marxist post-punk heroes Gang of Four. The seminal 1979 debut ‘Entertainment!’ introduced a style of minimalist scatter, often leaning towards the unprecedented funk side of punk rock. Jon King’s clamouring excerpts into Situationism partnered with lead guitarist Andy Gill’s monotone acknowledgements, ultimately challenged the view of structural consistency for guitar based pop. Gang of Four were surely the sound of a generation, but funnily enough the sound of the next generation with renewed homage from bands such as Franz Ferdinand and Bloc Party since the turn of the Millennium. Can the quartet live up to their legendary status tonight?

Gang of Four

Emblazed in bright amber lighting, Gill greets the crowd with distorted chimes of punk rock guitar. “They think you’re a winner!” roars King as the crowd is given a taste of new material from the band’s newest album in sixteen years. You’ll Never Pay for the Farm is thunderous yet poignant, clarifying why many people have fallen in love with the group’s brand of punk-funk. Despite the absence of original bassist Dave Allen, ‘Ether’ continues to sound fresh and vibrant. New bass player Thomas McNeice certainly has adapted well without drastically altering the complexion of the four-piece.

King continues throughout to explore the stage in animalistic fashion and is at his philosophical best with ‘Paralysed’ and new track A Fruitfly in the Beehive. Both songs are met with appreciative applause, undoubtedly a true testament to the insightful outlook on topics such as hyper-consumerism. Anthrax presents the crowd with its first sign of punk anarchy as King and Gill play a game of catch with a guitar tossed around harmlessly on stage. ‘I must check my life insurance payments are up to date’ mutters Gill.

If instruments were not enough, the next victim is a microwave oven for the controversial 1982 single I Love a Man in a Uniform. For the next four to five minutes the London venue is now punk’s answer to the avant-garde. Unusual percussion is added to the song through King’s smashing of the microwave with a large metal rod. Surely symbolic embodiment of the band’s critical view towards consumerism and the perceived intrusion of capitalism on society. Powerful stuff!

Not a bad way then to lead to the anthemic Damaged Goods, which unsurprisingly attracts the loudest cheers of the evening and is religiously echoed word by word by the audience. Comebacks can often be a damp affair in the music world, as the smell of the green stuff can always be too enticing to turn down. Gang of Four however are a pleasant exception to the rule of the comeback and their consciousness is still as relevant and vital as ever.

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Live Reviews

Live Review: Birthmark

Birthmark
London Lexington
12.01.11

Much like Dischord is for punk, or Pixar for animated films, the Kinsella family can be seen as a badge of quality for emo-tinged indie rock. While brothers Tim and Mike are largely responsible for this reputation, having formed and played in Cap’n Jazz, American Football, Owen and Joan of Arc to name but a few, cousin Nate has also played his part. Having contributed to the likes of Joan of Arc and Make Believe, his solo career under the name Birthmark began in 2007 with debut album ‘The Layer’. Four years on and Nate is on stage in London, about to play in support of album number two.

Beginning somewhat nervously, the band’s offbeat songs gradually warm up the modest, yet intimate crowd. Beginning on drums, Kinsella slowly works his way around the stage, swapping instruments with his band members and banter with the crowd. This get’s particularly interesting as he explains he recently had a spell in prison, after stripping during a show in America’s Deep South. Just being in the presence of the amiable Kinsella makes this seem a shocking revelation; as he humorously goes on to protest his ‘good guy’ status.

Getting back to the music, we are treated to many of the highlights from ‘The Layer’, as well as a sprinkling of new songs. While Birthmark’s playful instrumentation and unusual time signatures are certainly reminiscent of Joan of Arc, Nate’s voice and delivery marks a clear separation between the two. The song’s of Birthmark are more drawn out and considered, perhaps lacking the punch of his cousins’ best work, but making for an engaging and enjoyable performance nonetheless

Sleekly Lion

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Live Reviews

Live Review: Tennis

Tennis
The Lexington, London
07.01.11

Words and Photo: Alex Penge

Meet Tennis, Denver’s husband and wife 60’s pop idolisers, apparently a tongue-in-cheek dig by Alaina Moore (vocals, keyboard) of her husband Patrick Riley’s (guitarist) interest in the sport at college. On the back of widespread internet acclaim for their web smash ‘Marathon’, the harmonic pop group play their first ever UK gig at The Lexington minus the lairy headbands and skimpy shorts…

Moore graces the stage joined by Riley at her side. The crowd is introduced to an instrumental of wistful guitar combined with mellow notes from the synthesiser. The results are an atmospheric pop haze. ‘Seafarer’ follows on from the eruptive opening with Moore’s youthful cries of summer time teenage affection. ‘Cape Dory’ is the first song to bring a sense of Supremes-like harmony as Moore beautifully proclaims that ‘we can listen to the sounds of the ocean’. The 60s girl group pastiche is not exhaustedly delivered however, with Riley once again providing the modern guitar twangs necessary for reaffirming the pastiche as just nostalgia.

This is Tennis’ first show outside the U.S, considering the universal magnitude of their next song ‘Marathon’ this show is surely not just a transatlantic ta-ta. A fulsome organ fills the room while Moore references the couple’s sailboat journeys of the past, through melancholic rhymes about ‘Coconut Grove’ cove life. Complemented with energetic cymbals the live crowd is provided with a thunderous chorus. ‘Thanks Radman’ bellows Moore at the end of the song, in reply to an overzealous crowd member.

The next song and first cover of the night is Jackie De Shannon’s ‘When You Walk in the Room’. Arguably the most energetic and empowering song of the evening, Riley’s calm yet resonant power-pop guitar builds towards DeShannon’s original emotional frustration. The love songs do not end here, as ‘Pigeon’ unwinds the crowd with flashbacks of frilly senior prom shirts and awkward slow dances. (See: The slow prom dance scene from Napoleon Dynamite. There’s awkward and then there’s THAT!)

It is clear that some of Tennis’ heroes are pre-rock icons, one of which being Brenda Lee. Brenda Lee’s ‘Is It True’ clarifies this view with passionate vocals and jangly strings. There’s hope for the future with potential mini-festival anthem ‘South Carolina’, Florence-esque echoed screams suggest that the band could be well suited to big tents on the festival circuit.

Reproduction of past records and especially forgotten genres can often be valuable, but for just how long? The one criticism is the emotional significance of their music. As it is predominantly based on influences of the past, there is a tendency to want something a little dissimilar, ultimately questioning the reminiscences being presented.

There’s undoubted beauty and charm but you just wonder how the husband and wife duo can progress in the future with a sound that is so precisely formulated. Importantly however Tennis are far from mediocre and are an interesting live collective. They are not quite ready for Wimbledon as of yet but are well on their way.