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Tennis  

• On tour: no
• Upcoming 2024 concerts: none

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Tennis are a dreamy indie pop duo from Denver, US consisting of husband and wife Alaina Moore and Patrick Riley whose musical adventure began in 2010.

It’s not unusual to take a well needed break after graduating from university, when Moore and Riley completed their studies they decided to embark on a seven month sailing expedition around the Eastern Atlantic Seaboard. During their time on board, the pair began writing together inspired by their journey and it was then they decided to pursue the musical project, Tennis.

Their first release came in 2010 with the “Baltimore” EP through the independent label Underwater Peoples. The following year the duo signed with Fat Possum Records and released their debut full length album “Cape Dory” which received critical acclaim. As a conceptual album, it was inspired by the pairs love of sailing and voyages through a collection of romanticised songs such as “Baltimore”, “Seafarer” and “Bimini Bay”. It was the first time they had written material intended to share with the public to be performed live.

Tennis’ follow up album “Young and Old” released in 2012 produced by The Black Keys drummer Patrick Carney featured vocal harmonies inspired by Carole King, Judee Sill and 50’s girl groups. The album gave the duo the freedom to diversify in style with a bit of good old rock and roll thrown in the mix complimented by the poppy piano with catchy tracks like “Origins” and “High Road”. Later that year Moore and Riley were named writers of the week by American Songwriter.

Signing with Communion Records in 2013, Tennis released their second EP “Small Sound” which was a perfect blend of the styles apparent in their previous albums, bringing back the at the sea feeling with twists of sunny pop elements running throughout.

After sharing studio space with the Haim sisters, they were invited to support them on a nationwide tour in May 2014, the perfect opportunity for Tennis to shine enchanting audiences while bringing a carefree and joyous nature for all to take pleasure in.

Live reviews

I had been looking forward to seeing Tennis for quite some time. Naturally, my expectations were high. The whole “surf-pop” sound has gained a lot of popularity lately, and Tennis is certainly one of the genre’s pioneers. I mean, the entire first album is based on Alaina and Patrick’s experience spending seven months at sea!

Expectations aside, they put on a really great show. The venue, Crescent Ballroom, has quickly become one of the most premier and iconic places to see a concert in Phoenix. Modest in size with roughly 500 capacity, the lighting and sound production, intimate environment, and central downtown location all serve to provide a wonderful live music experience. It didn’t seem like the event had sold out, as there was a decent amount of room to move about the ballroom. That suited me just fine. While I don’t dance a tremendous amount at live shows, you can bet that when “My Better Self” began playing, I was swinging my hips a bit.

One thing that really surprised me about the band was lead-vocalist, Alaina Moore’s, strikingly diminutive stature. A woman of that size singing with such power and conviction is truly a sight to behold. Admittedly, I am a sucker for powerful female singer-songwriters. Regardless, it was nothing short of inspirational.

Meanwhile, her husband and guitarist, Patrick Riley, led the songs’ melodies—his long blonde hair, characteristically unkempt, waving back and forth with the cadence of the particular song. There were only two other members to complete the outfit. The drummer was solid. As a percussionist myself, I tend to be very critical of live drummers, and I don’t recall anything worth condemning—though I may have been slightly distracted by the mesmerizing performance of Alaina. The last member to round out the four-piece floated around filling in for whatever component was needed at the time; were it bass-guitar, auxiliary percussion, etc.

Despite being comprised of only four members, the band was able to produce a truly full sound. The songs were also easily identifiable as the same shiny, packaged versions we were all familiar with. The set flowed nicely and included many songs off their latest release, Ritual In Repeat, such as: “Never Work for Free,” “I’m Callin’” and “Timothy.” The band was wise in their approach, though, as to not exclude fan-favorites like, “Origins” and “It All Feels the Same.”

They closed out the set with my personal favorite, “My Better Self.” The swinging drumbeat came crashing in, followed by the familiar sustained piano, and it was in that exact moment that the entire crowd came to life with excitement. What a wonderful way to end the show!

I know what you’re thinking. “But what about Marathon?”

Not moments after Tennis walked off-stage, the audience roared in demand. And the band was quick to oblige their requests.Only Alaina and Patrick returned, at first, to perform a stripped-down, acoustic version of “Bad Girls.” They said they wanted to play it as it had been written. It was a beautifully genuine rendition, and one of my favorite moments from the entire performance. Immediately following that, the remainder of the band took up their instruments. You could feel a sense of completion sweep across the audience as soon as the words, “Coconut Grove…” came through the PA speakers.

Overall, it was a fully satisfying experience.

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To fully understand The Roots you must see them perform live. After you witness their brand of fully instrumental live hip-hop this enigmatic group of musicians begins to make sense.

To classify The Roots as simply a hip-hop act is to do them a disservice. Yes they are hip-hop (Black Thought makes sure of that) but they are also so many other things. Their music has grown to incorporate everything from cool jazz and socially conscious spoken word to classical and the downright experimental. Long before The Roots were the platinum selling, Grammy awarded house band for the Tonight Show with Jimmy Fallon, they were continually on the road bringing it to the people “live from the 215." For over twenty years the Roots toured the globe over and back again, slowly growing a loyal and diverse fan base. ?uestLove’s drumming is the backbone of every performance. He leads the band from behind his drum kit and every horn, guitar, and tuba falls into their groove. They will pull songs from their entire catalog of ten plus albums. Classics like "You Got Me" and "The Seed 2.0" have a new twist every performance, likening them to a Jazz band with their improvisation. One night they might place a 15 minute cover of Bob Dylan’s "Master’s of War" and the next show they will do an interpretation of a Bill Withers war protest song. They are constantly evolving and pushing themselves in new directions.

In this way, they are transcendent of all classification. The only constant thing about The Roots is that every night will be a completely unique set of music, never to be performed exactly that way again.

Molly Burch opened for Tennis and she was a little sweetheart so interactive with the crowd, I swear she pointed at me when she was singing and her voice was so beautiful I was on the verge of crying. Then Tennis came on I was intimidated at first by the way they walked on the stage looking like these big celebrities and they busted into song I was in Awee that Alainas voice was just as clear and light and magical like on Spotify. After that song they spoke with us fans and I felt like I knew them and they played nothing but the fucking hits. Every song was a banger I wouldn’t stop singing and dancing to every song they played. The crowd/audience showed so much love and I could tell they appreciated and loved us as well they did an encore and performed songs I didn’t know but I easily fell in love with and I caught on and started singing too. I didn’t expect to love them even more after the show, I didn’t think it was possible. What a great show, I hope to hear more from them and see them again soon!

alaina & patrick are amazing musicians. they play incredible & catchy MOR tunes.

i was visiting from new zealand to california when i found out the last date of the Solo in Stereo 2018 tour which will be in their home town Denver CO, the Central Presbyterian Church in downtown Denver.

i was eagerly waiting for the couple to come out in the merchandise table & meet the fans but they did not.

what a disappointment ☹️

any way, my effort of travelling from calif to denver was worth the time because of the good music they share with us fans

What a fantastic show. Alaina's voice is even more beautiful live and she has amazing chemistry with Patrick. You can clearly tell that they're soulmates when they are performing together.They played lots from their new album, as well as fan favorites from Ritual in Repeat. An unexpected surprise was Marathon from Cape Dory!

Something that was unexplainably weird was when Alaina crouched over on the stage to hold hands with a really zealous fan, he basically repeatedly kept on slapping her hands to the beat. Not cool, dude.

Really great show Aliana and Patrick were great together they did a version of Bad Girls with just them, and it was beautiful and amazing take on the song. The set was great with the different lighting for each song. I got some solid pictures during the show. Maybe, take pictures with fans after the show it'd be greatly apprecaited, although I don't know if there was a nice spot at the Soul Kitchen to do so. Can't wait to see them again hopefully soon if you have the chance to see them I highly recommend it.

Great show, they performed well. They made the crowd hype up in a mellow cool way by playing songs from all their albums & played some new ones as well. They have a following for sure. Talked to the crowd, sharing cool stories & even gave a motivation speech about how success shouldn’t be defined & limited as how society & social media portrays it. I was happy to be there & to experience a new vibe since I am quite new to live music experiences.

Great show! Was their last show of a 2 month tour and all the vibes were in the room. They were trading new songs with oldies for the first half of the show, but working in the classics: I'm Calling, Needle and a Knife, Origins, My Better Self...

At one point they played a new song that Alaina wrote Patrick for their anniversary. The ladies were excited about this one :)

Great live band - always great to see them.

They were okay--Tennis is never a live show to write home about (I went for Overcoats), but their sound was super screwed up at Trees. You couldn't even hear the music over all the bass. The levels were horrendously off. And they're pretty boring live anyway, so if the music is off...well, we left after the first three songs. Overcoats was outstanding, though! :)

They were amazing!! They needed to do a better mic check though because for over half the show we couldn't hear the vocalist at all. Other than that they were charismatic and engaging. She talked to the audience enough to make us feel connected and immersed and her stage presence was almost enough to forget about the shotty mics.

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• New York (NYC) (28)
• SF Bay Area (21)
• Chicago (19)

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• Wild Belle (18)
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Kate Bollinger

• Date Apr 7 , 2023
• Event Starts 8:00 PM
• Doors Open 7:00 PM
• On Sale On Sale Now
• Ages All Ages

Don’t miss Janelle Monáe, Gary Clark Jr. & more at I Made Rock ‘N’ Roll on May 18th at The American Legion Mall!

• Apr 11, 2023

Tennis - Pollen 2023 Tour w/ Kate Bollinger

• Tue Apr 11, 2023 + iCal
• 7:00 PM / Show: 8:00 PM

TENNIS – POLLEN 2023 TOUR W. KATE BOLLINGER TUESDAY, APRIL 11, 2023 DOORS: 7:00 PM | SHOW: 8:00 PM AGE RESTRICTIONS: 21+ GENERAL ADMISSION

Important Notice: All tickets are nonrefundable and nontransferable with the exception of event cancellation. Support acts are subject to change.

About Tennis: Listen | Watch Video

Tennis is Alaina Moore and Patrick Riley. The two met in the philosophy department at the University of Colorado in 2008 after dropping out of their respective music programs. In the years after graduating, they got involved in Denver’s DIY music scene. Through house shows, they were connected with Underwater Peoples, and Firetalk. Tennis’ first singles “South Carolina,” “Baltimore,” and “Marathon” were released in 2010. The band went blog-viral nearly overnight, landing them a record deal with Fat Possum.

Cape Dory, (2011 on Fat Possum), documents Moore and Riley’s time spent living aboard a small sailboat on the Atlantic coast. The album debuted at #1 on Billboard’s Heatseeker chart, transitioning Tennis from house-shows to stages such as Lollapalooza.

Tennis recorded their sophomore effort Young & Old (2012) with Patrick Carney of the Black Keys. They made their television debut on The Tonight Show, The Late Show, and Conan.

In 2014 they signed with Communion. The resulting release, Ritual in Repeat was the culmination of separate recording sessions with Richard Swift, Jim Eno and Patrick Carney. Moore and Riley were greatly influenced by Richard Swift’s approach to recording and engineering, prompting Riley’s decision to take over as engineer on their future releases.

With shifting labels and new interests, Tennis chose an alternate path for their band and career. In 2016, Moore and Riley formed the label Mutually Detrimental and began self-releasing. Their newfound freedom allowed them to return to their sailboat to write their next full-length, this time in the Sea of Cortez. Yours Conditionally, released in 2017, became their most commercially successful album–charting at #4 on Billboard’s Independent list and in the top 100 highest selling vinyl releases that year. They played Coachella and opened for artists like The National, Father John Misty and The Shins–proving their DIY roots as a cornerstone to their sound and narrative.

Their follow up Swimmer (2020), was recorded in their home studio with Moore and Riley producing and engineering. The pair brought their long-time touring member Steve Voss in for the second time to drum on record. The singles, Need Your Love and Runner, were Tennis’ most successful releases to date. With nearly every show on tour sold-out (including two consecutive nights at Brooklyn Steel) the album’s campaign was cut short by the Covid-19 pandemic.

Pollen, Tennis’ sixth studio album is due on February 10, 2023 (Mutually Detrimental)

About Kate Bollinger: Listen | Watch Video

Kate Bollinger’s songs tend to linger well beyond their run times, filling the negative space of ordinary days with charming melodies and smart phrasings. She writes them at home in Richmond, Virginia, letting her subconscious lead, an open-ended process she likens to dreaming. From a chord progression appears a line, maybe a syllable will start to stick, enough to pursue, but she says sometimes the words don’t feel like her own, more like shapes that form in the mind’s sky. While many are personal and deal with the emotions that surface with finding her place in the world, she’d prefer they be whatever you’d like them to be, to connect with listeners in their own way. Bollinger’s musical universe is relaxed, tender, and unassuming; within lives a timeless sensibility, a songwriter’s knack for noticing the little things and their counterpoints. Darkness and light, pain and pleasure, reality and escape. These all have space to be seen on her new EP, Look at it in the Light, her first project on Ghostly International, arriving in spring 2022.

Bollinger’s project is collaborative; she shoots music videos with her friends and colors each of her folk-pop songs with musicians in her community. An agile group of players with backgrounds in jazz, they recorded her first EP, I Don’t Wanna Lose, as live takes in a single day, then slowed it down to build out her 2020 EP, A word becomes a sound. Bollinger sings quickly at times; she jokes that can get her into trouble when it comes to playing live, “some of these songs are going to be a mouthful.” She’s always been drawn to singers in that free-flowing style and got into the habit of writing quickly while watching her longtime collaborator John Trainum work with rappers in the studio.

Forced to finish her last EP in lockdown, Bollinger, Trainum, and players excitedly returned to sessions in the spring of 2021 to explore a new batch of songs. The parameters were different this time, Bollinger explains, “We wanted to make limiting decisions and to stick with them, rather than leave things open, and we wanted to hear certain flaws and parts of the process.” Inspired by the music of the ‘60s and ‘70s, particularly a lot of the old Beatles demos, they focused on the orientation and clarity of sound. “I like being able to hear the bass, the guitar, the drums, the keys, and for each instrument to be playing a singular part that is good enough to stand alone.”

That clarity carries over into EP’s themes; the title Look at it in the Light is a reference to the aspects of Bollinger’s life that she knows need examining. For one, there’s her persistent resistance to change — she chooses to ignore it on the title track (“I try not to notice / I deny my fate”), as wiry strums sync with crisp drums. She surrenders to comfort on “Who Am I But Someone,” a light and softly psychedelic number that shuffles through “the measures to which I will go in order to avoid having to uproot the familiar things in my life.” Bollinger recorded the demo with Trainum and guitarist Chris Lewis in their shared month-to-month storage space, building on a composition she had written alone, later completing it in the studio with the full band. Together they came up with the sharp turn at the track’s midway point — a sudden shift in a song about staying the same. Therein lies the appeal of Bollinger’s music, the clever twists beneath the sweetness.

“Yards / Gardens” finds Bollinger in full swing, skipping verses of uncertainty above a bright and nimble bassline and kick. Guitar riffs unravel across the bridge, trailing her lines like ellipses. Growing up has become a motif in her work, but she’s never sidestepped the concept in quite this way. Here, self-assured and surrounded by vivid production, she leans back in the grass, letting expectations breeze by, reminding herself she’ll tend to things in good time (“I’m viewing days like practice rounds / come next year, I’ll know what to do”).

The string-backed “Lady in the Darkest Hour” is the set’s most luxuriant statement, recorded during a session at Matthew E. White’s Spacebomb Studios with in-house arranger Trey Pollard (Natalie Prass, Helado Negro). Here her lines ring bittersweet yet reassuring, uplifted by swells of golden-hued instrumentation. Searching for meaning (“Cause what I’d like to know / Is this it?”), Bollinger mirrors her subject in beaming delivery (“smile all sweet like it isn’t sour”), curving the words atop the rhythm and melody.

From the hushed abstractions of “I Found Out” to the biting suspicions of closer “Connecting Dots,” Kate Bollinger uses every inch of this dazzling EP to find her footing amidst the ever-present sways of life.

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Tennis: Pollen 2023 Tour – Tickets – College Street Music Hall – New Haven, CT – October 28th, 2023

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This event is General Admission Standing Room only on the floor.

Tennis is Alaina Moore and Patrick Riley. The two met in the philosophy department at the University of Colorado in 2008 after dropping out of their respective music programs. In the years after graduating, they got involved in Denver’s DIY music scene. Through house shows, they were connected with Underwater Peoples, and Firetalk.

Tennis’ first singles “South Carolina,” “Baltimore,” and “Marathon” were released in 2010. The band went blog-viral nearly overnight, landing them a record deal with Fat Possum.

Cape Dory, (2011 on Fat Possum), documents Moore and Riley’s time spent living aboard a small sailboat on the Atlantic coast. The album debuted at #1 on Billboard’s Heatseeker chart, transitioning Tennis from house-shows to stages such as Lollapalooza.

Tennis recorded their sophomore effort Young & Old (2012) with Patrick Carney of the Black Keys. They made their television debut on The Tonight Show, The Late Show, and Conan.

In 2014 they signed with Communion. The resulting release, Ritual in Repeat was the culmination of separate recording sessions with Richard Swift, Jim Eno and Patrick

Carney. Moore and Riley were greatly influenced by Richard Swift’s approach to recording and engineering, prompting Riley’s decision to take over as engineer on their future releases.

With shifting labels and new interests, Tennis chose an alternate path for their band and career. In 2016, Moore and Riley formed the label Mutually Detrimental and began self-releasing. Their newfound freedom allowed them to return to their sailboat to write their next full-length, this time in the Sea of Cortez. Yours Conditionally, released in 2017, became their most commercially successful album–charting at #4 on Billboard’s Independent list and in the top 100 highest selling vinyl releases that year. They played Coachella and opened for artists like The National, Father John Misty and The

Shins–proving their DIY roots as a cornerstone to their sound and narrative.

Their follow up Swimmer (2020), was recorded in their home studio with Moore and

Riley producing and engineering. The pair brought their long-time touring member Steve Voss in for the second time to drum on record. The singles, Need Your Love and

Runner, were Tennis’ most successful releases to date. With nearly every show on tour sold-out (including two consecutive nights at Brooklyn Steel) the album’s campaign was cut short by the Covid-19 pandemic.

Pollen, Tennis’ sixth studio album was released on February 10, 2023 (Mutually Detrimental)

Links: Official Website | Facebook | Instagram | Twitter | Spotify

Sam Evian knew he wanted to leave New York City almost as soon as he arrived, more than a decade ago. An upstart songwriter and producer, he, of course, loved its creative wellspring—the ideas, the instrumentalists, the energy. But he’d grown up in the woods of upstate New York and, later, along the coast on the rather empty eastern end of North Carolina. The city was expensive, anxious, and unsettling, however inspiring it could be.

So in the Summer of 2017, he and his band decamped to a rented house upstate to cut his second album, the magnetic You, Forever. He then realized he could no longer resist the urge; two years ago, Sam and his partner, Hannah Cohen, split from the city, building their refuge in the quiet of a Catskills town. That reflective, relaxing environment inexorably shaped Time to Melt, his third LP and debut for Fat Possum. A glowing set of soulfully psychedelic pop gems, Time to Melt is a testimonial to the life and wisdom to be found when you give yourself the mercy of space.

During the last decade, Sam has become a preeminent collaborator, producing and engineering records for the likes of Big Thief, Cass McCombs, and Widowspeak as Sam Owens, his given name. In their new home, he and Hannah hosted bands like house guests as he helmed their sessions. The coronavirus, though, clamped down on those interactions, largely sealing the couple from their longtime scene.

So Sam tried something new: He sorted through more than 60 instrumental demos he’d recorded in the last two years and began shaping the most enticing of them into songs with help from Hannah and a cadre of long-distance friends—Spencer Tweedy, Chris Bear, Jon Natchez, even strangers who sent him voice memos via Instagram. He took the unexpected time at home to dig deeper into his world of sounds and ideas than ever before, calmly considering our moment of prevailing chaos through a lens of newfound distance.

But the last few years have been purely happy for mostly no one, Sam included. Time to Melt reckons with the weight of our time, even when it sounds largely weightless. Inspired by John Coltrane’s mixture of grace and gravitas and Marvin Gaye’s uncanny ability to turn social issues into personal anthems, Sam strove to give these otherwise-beguiling instrumentals the thoughtfulness and depth these days demand.

With its rubbery bassline and sweeping strings, “Freezee Pops” unfurls like a Summer breeze. It reads, though, like poetic testimony on police brutality, an innocent kid’s life plundered for prison-system profits. And “Knock Knock” taps Sam’s memories of race-and-class violence in the small-town South and his subsequent reckoning with our crumbling American façade, where “we tell ourselves almost anything but the truth.” The song is ultimately a tribute to the perseverance of the vulnerable, who find community and joy in spite of the way centuries of miscreants try to deny it.

There are also songs of utter celebration on Time to Melt, paeans to whatever joy it is we find in life or love. Buttressed by bold baritone sax, lifted by exuberant trumpet, and washed in fluorescent guitars, “Easy to Love” is an exultant ode to finding a new paradise outside of the city, an idyllic setting where you can plant love and literally watch it bloom. “Lonely Days” blows in with a muted brooding, but it’s a feint for Sam’s sweet hymn to a blissful partnership of shared solitude, a true blessing for a year when so many have been alone. “Lonely days are gone,” he repeats, his rhythm shifting just enough in the middle of the sentence to tease dejection and surprise with delight. Sam is so content in the Catskills that the lovely but warped “Sunshine” finds him imagining how heartache must feel, as though it were only ever a hypothetical muse. He sublimates a sense of seasick sadness into a compulsively funky oddity.

At home now near the Ashokan Reservoir with their new rescue dog, Jan, Sam and Hannah mostly listen to music while they cook dinner. That’s the kind of record Sam wanted to make—an album of sounds so pleasant and compelling that you put it on and follow the slipstream. He succeeded; Time to Melt is a waking dream, its intoxicating rhythms and timbral webs as settling, even seductive as an evening glass of wine. But making dinner, or whatever your ritual at day’s end may be, isn’t some idle exercise. It’s a place to unpack the pain and wonder, the suffering and promise of the moment, to reflect on where you have been and what might come next. In 40 striking minutes, or the time it may take you to make that meal, Time to Melt sorts through a year of a life spent in rage and hope, lockdown and love.

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Tennis Concert Setlists & Tour Dates

• Tennis ( US indie band )
• Tennis ( UK electronic/IDM duo Ben Edwards & Douglas Benford )
• Tennis ( poprock from Norway )

Pollen Tour

Tennis at corona capital 2023.

• Ladies Don't Play Guitar
• Pollen Song
• Diamond Rings
• Need Your Love
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Tennis at Fox Theater Pomona, Pomona, CA, USA

Tennis at rialto theatre, tucson, az, usa.

• One Night With the Valet
• My Emotions Are Blinding
• Borrowed Time
• Forbidden Doors
• Hotel Valet
• Needle and a Knife

Tennis at Tower Theatre, Oklahoma City, OK, USA

Tennis at minglewood hall, memphis, tn, usa, tennis at saturn, birmingham, al, usa.

• In The Morning I'll Be Better
• How to Forgive

Tennis at Tipitina's, New Orleans, LA, USA

Tennis at the beacham, orlando, fl, usa, tennis at music farm, charleston, sc, usa, tennis at the orange peel, asheville, nc, usa.

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Most played songs

• Needle and a Knife ( 101 )
• My Better Self ( 96 )
• My Emotions Are Blinding ( 96 )
• In The Morning I'll Be Better ( 95 )
• Ladies Don't Play Guitar ( 88 )

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Evan + Zane Anthony Green

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705 people have seen Tennis live.

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Bands That Are 50-Plus Years Old and Still Touring

Posted: May 5, 2024 | Last updated: May 5, 2024

Oldies But Goodies

Since the advent of Napster, Spotify, and Apple Music, consumers have stopped buying records and singles like they used to. After all, why would anyone invest in a personal physical copy of a record they can hear to their heart’s content as part of a monthly subscription fee? This has created a rough situation for many old-school musicians who relied upon songwriting royalties to earn a living.

This situation has resulted in musicians going out on the road in their 70s and 80s simply because that’s where the revenue is now. Luckily, consumers still want to buy a concert ticket and hear their favorite songs played by their favorite musicians, some of whom have been at it since the early 1960s. Here’s our list of artists who have been at it for over 50 years, and you can still go out and see them perform live at this very moment.

The Rolling Stones

These rock legends have been touring since the 1960s and continue to sell out stadiums worldwide. According to those still lining up to see them, it’s always a great show, and these are consummate performers who still know a thing or two about how to rile up a crowd. As if to flaunt the fact that this band has been on the road in one form or another for 60 years, their current “Hackney Diamonds” tour is being sponsored by AARP .

The Beach Boys

The Beach Boys have been delighting live audiences since the 1960s with their signature harmonies and classic hits. Of course, closer inspection of the “Tour” page on their official website reveals that the artist you would see on the concert stage is “The Beach Boys/Mike Love,” and indeed, Mike Love is the only original member of the band that you’ll see on the concert stage this year. Oh well, get a seat all the way in the back and impair your judgment with beer so that by the time they start playing “California Girls,” you won’t care who’s onstage.

The Temptations

With their smooth harmonies and soulful tunes, the Temptations have been right there alongside the Stones and the Beach Boys when it comes to serenading live audiences since the 1960s. Currently, Otis Williams is the only remaining original band member, but if you want nothing more than to close your eyes and bliss out to their hits, they’re currently on tour through 2024 and into 2025.

The Zombies

The Zombies are a U.K. band that formed in 1961 and are best known for such exquisite psychedelic hits as "Time of the Season" and “This Will Be Our Year.” The Zombies have not stayed together consistently all these years and have become inactive on more than one occasion. Still, their current touring lineup contains two of the band’s founding members, Rod Argent and Colin Blunstone, so if you enjoy their music and are in the U.K. or Warsaw, this is the time to go see them . If that conflicts with your plans, they will be playing on the “Flower Power” cruise in March 2025.

The Yardbirds

This influential English rock band once had Eric Clapton, Jeff Beck, and Jimmy Page in its ranks, and they produced such hits as “For Your Love” and “Heart Full of Soul.” If you go see them live, be aware that drummer Jim McCarty is the sole remaining original member, so if you’re hoping to see Jimmy Page walk onstage, you will be disappointed. Sadly, the band just came off the road in March 2024 , so you only missed it by this much . At the same time, there are currently several bands on tour right now with no original members, so even if McCarty quits the band to spend his days gardening, you may still get the chance to see some entity calling itself “The Yardbirds” doing something in front of a paying audience.

The band Chicago was founded in 1967, and the number of members who have come and gone through their ranks is staggering. The only remaining original members are keyboard player Robert Lamm, trumpet player Lee Loughnane, and trombone player James Pankow. Still, constant turnover has never been a barrier to this band when it comes to performing live, and this year is no exception as it sees them on the road through September. Here’s hoping that if you go see them, they all spontaneously forget how to play their crappy 1980s power ballads and replace everything on the set list with their early material, like “25 or 6 to 4.”

Since Glenn Frey’s 2016 passing, the only original member of the Eagles in the current lineup is singer and drummer Don Henley. Still, he’s flanked by guitarist Joe Walsh and bassist Timothy B. Schmit, who have been familiar faces to Eagles fans since the 1970s. Founded in 1971, the band was ridiculously successful during their glory days in the Me Decade, and their music has stayed tenaciously and persistently popular even when the band was broken up for years at a time. Currently they’re on tour in the U.K. and the Netherlands.

American hard rockers Aerosmith are currently selling tickets for their “Peace Out” farewell tour, so if you have never seen them since their formation in 1970, this is your last chance. Honestly, it’s kind of a miracle that singer Steven Tyler and guitarist Joe Perry are still alive, given the notorious appetite for illicit substances that got them branded “The Toxic Twins.” However, they’re still here, they still have their original lineup, and there won’t be another chance at this. So see them now. Either that or take a chance and hope they will return in two years for a reunion tour if Steven Tyler runs out of bandanna money.

That li’l old band from Texas, ZZ Top, formed in 1969 and never had a single lineup change – it was always guitarist Billy Gibbons, bassist Dusty Hill, and drummer Frank Beard, who ironically was the only one without a beard. Known for hits like "La Grange" and "Tush" from the 1970s and 1980s hits like “Sharp Dressed Man,” the band was a consistent concert draw, but sadly, in 2021, Hill passed away while the band was on tour. Well, it was simply a matter of getting their guitar tech, Elwood Francis, to step up to the plate, and now he’s the bassist. Go see them on tour !

Neil Young started his recording career in earnest in the 1960s as a member of Buffalo Springfield, and he’s spent the decades since then playing with Crosby, Stills & Nash, performing solo, and using a few different backing bands, such as Promise of the Real and the International Harvesters. His most famous backing band is Crazy Horse, which specializes in nothing so much as hours of howling feedback and distortion that seem designed to scare off Young’s folkie fans who are just there to hear “Sugar Mountain.” His current tour with Crazy Horse is in progress and goes through September, and several dates on the tour are already sold out, so buy tickets to see them and wear plenty of hearing protection.

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Over the past couple of decades, the Rolling Stones have looked for any reason to hit the road besides the release of a new album of original songs. They’ve launched tours celebrating their 50th anniversary, reissues of select archival records, the 2016 covers LP Blue & Lonesome , and their 60th anniversary. Some years they headed out on the stadium circuit for no particular reason whatsoever, knowing a Stones tour is a major event in and of itself.

The first step was Houston’s NRG Stadium on Sunday night. After a strong opening set by Gary Clark Jr. that centered around his new LP, JPEG Raw , the band took the stage to the familiar opening notes of “Start Me Up.” This is the first time Mick Jagger has faced a stadium crowd since his 80th birthday last year, but his voice and body seem like they stopped aging sometime around Steel Wheels . It’s almost impossible to fully believe until you see it in person. (“People say Joe Biden is too old to be president,” an elderly woman behind me said early in the night. “They need to look at Mick!”)

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He wasn’t kidding. The 1965 Aftermath track wasn’t played live once until their 2022 European tour, and this was the first time it crossed the Atlantic. But it’s not something you hear much on classic rock radio, and the audience reaction was pretty muted at first. “I don’t think you really knew it,” Jagger said at the end. “But you got to know it as it went along.”

The Hackney Diamonds portion of the evening began at this point with leadoff single “Angry,” which popped onstage much like it did during their surprise album release show at the New York club Racket last year. “Beast of Burden” won the fan vote for the night, and it provided veteran backup Stones singer Bernard Fowler with a much-deserved spotlight moment. “You’ve got one more vote in November,” Jagger said. “Don’t forget to vote then too. What to play now? Something old … something new.”

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At the midway point of every Rolling Stones concert in recent memory, Jagger introduces the band one by one before heading offstage so Keith Richards can sing a couple of songs. For some reason, perhaps to squeeze more new songs into the set without cutting any of the standards, Richards was limited to just a single tune. He made it count by singing 1981’s “Little T & A” for the first time since 2016, though it was disappointing he didn’t get a chance to break out “Tell Me Straight” from Hackney Diamonds . It feels inevitable that’ll happen before this tour ends.

Jagger returned for “Sympathy for the Devil” and “Gimme Shelter,” which gave new background singer Chanel Haynes a chance to emerge from the wings and show off her stunning pipes. She first entered Stones World in 2022 when Sasha Allen, their previous background singer, couldn’t make a Milan show. Haynes was playing the lead role in the West End musical Tina at the time, and she parachuted in at the last second to save the show. This frustrated the producers of Tina , who fired her for handing the show off to her understudy that night when she wasn’t ill, but it impressed the Stones enough to hire her for this tour.

The main set wrapped up with “Honky Tonk Women,” “Miss You,” “Paint It Black,” and “Jumpin’ Jack Flash.” These are songs they’ve done hundreds and hundreds of times for good reason. The hardcores may yearn for deeper cuts like “Memory Motel” or “Moonlight Mile,” but Jagger knows they’d cause many people to sit down and start scrolling through Instagram. And when you have a song like “Jumpin’ Jack Flash” in your repertoire, you simply have to play it every time you do a gig.

“Sweet Sounds of Heaven,” one of the finest songs on Hackney Diamonds , kicked off the brief encore set. If it wasn’t challenging enough to channel Merry Clayton a few songs back, Haynes had to now deliver Lady Gaga’s soaring vocal parts from the original recording. Unsurprisingly, she crushed it. For a moment, it really felt like witnessing a scene from some alternate-universe version of A Star Is Born.

The night closed out with a joyous “Satisfaction,” meaning they played just three songs from Hackney Diamonds. That’s typical for a tour in support of a latter-day Rolling Stones album, but this one really deserved more. They dropped “Midnight Rambler,” one of the Richards songs, and the acoustic set to make room for the three new ones in the show, but it be worth further restructuring to squeeze in “Whole Wide World,” “Bite My Head Off,” and “Tell Me Straight.” These are stellar songs that deserve a spot in the set, even if it means tossing aside “Paint It Black” or “You Can’t Always Get What You Want” sometimes.

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“Start Me Up” “Get Off of My Cloud” “Rock Off” “Out of Time” “Angry” “Beast of Burden” “Mess It Up” “Tumbling Dice” “You Can’t Always Get What You Want” “Little T & A” “Sympathy for the Devil” “Gimme Shelter” “Honky Tonk Women” “Miss You” “Paint It Black” “Jumpin’ Jack Flash” “Sweet Sounds of Heaven” “Satisfaction”

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The Rolling Stones show no signs of slowing down as they begin their latest tour with Texas show

Mick Jagger of The Rolling Stones performs during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Mick Jagger, left, and Keith Richards of The Rolling Stones perform during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Keith Richards of The Rolling Stones performs during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Ronnie Wood of The Rolling Stones performs during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Mick Jagger of the Rolling Stones performs during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Keith Richards, left, Darryl Jones, and Ronnie Wood of The Rolling Stones perform during the first night of the U.S. leg of their “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

Gary Clark Jr. performs during the first night of the U.S. leg of The Rolling Stones “Hackney Diamonds” tour on Sunday, April 28, 2024, in Houston. (Photo by Amy Harris/Invision/AP)

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HOUSTON (AP) — Time marches on and all good things must come to an end. But don’t tell that to The Rolling Stones .

What many believe to be the greatest rock ’n’ roll band in the world showed no signs of slowing down anytime soon as they kicked off their latest tour Sunday night at Houston’s NRG Stadium.

The Stones have been touring for more than 60 years. Frontman Mick Jagger and lead guitarist Keith Richards are both 80, with guitarist Ronnie Wood not far behind at 76. Their tour is being sponsored in part by AARP.

But during a vibrant two-hour show, the Stones played with the energy of band that was on tour for the first time.

“It’s great to be back in the Lone Star State,” Jagger told the packed stadium, filled with longtime fans, many wearing faded concert shirts from previous tours.

Jagger often strutted up and down the stage with seemingly boundless energy while Richards and Wood played many familiar guitar riffs beloved by fans. Jagger often led the audience in sing-alongs.

“The energy level is up and it’s always up with them. The age doesn’t show,” Dale Skjerseth, the Stones’ production director, said Friday before the concert.

The Stones have hit the road to support the release of their latest album, “Hackney Diamonds,” the band’s first record of original music since 2005.

Houston was the first stop on the band’s 16-city tour across the U.S. and Canada. Other cities on the tour include New Orleans, Philadelphia and Vancouver, British Columbia. The tour ends on July 17 in Santa Clara, California.

During Sunday’s 18-song concert set list, the Stones played several tracks off the new record, including lead single “Angry.” They also played classics including “Sympathy for the Devil,” “Gimme Shelter,” Honky Tonk Women” and “Start Me Up.”

After playing “Beast of Burden,” Jagger said that concertgoers in Houston had voted to include it on the set list.

“You can’t go wrong with that,” one man in the audience could be heard screaming.

The Stones also played some unexpected choices, including “Rocks Off,” from their 1972 double album “Exile on Main St.” and “Out of Time,” a 1966 song that Jagger said during the concert had not ever been played by the band in the U.S.

With the 2021 death of drummer Charlie Watts , the Stones are now comprised of the core trio of Jagger, Richards and Wood. On Sunday, they were backed by various musicians including two keyboardists, a new drummer, backup singers and a brass section.

While the stage was surrounded by a large collection of video screens projecting images throughout the show, the main focus of the concert was the band and their songs

Before Sunday’s concert, Jagger spent time on Friday touring NASA’s Johnson Space Center in suburban Houston, posting photos on his Instagram account of him with astronauts inside Mission Control.

“I had an amazing trip to the space center,” Jagger said.

When asked if the band might be thinking about retiring, Skjerseth said he doubts that will happen.

“This is not the end. They’re very enthused,” he said.

This story has been updated to correct a song title to “Gimme Shelter,” not “Gimmer Shelter.”

Follow Juan A. Lozano on X , formerly Twitter.

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NCAA | May 6, 2024

2024 ncaa division iii women's tennis championship selections.

INDIANAPOLIS — The NCAA Division III Women’s Tennis Committee has selected the 49 teams that will compete in the 2024 NCAA Division III Women’s Tennis Championship.

The teams will play a single-elimination tournament with the first-, second- and third-rounds played at regional sites, Friday-Sunday, May 10-12, or Thursday-Saturday, May 9-11.

Washington University in St. Louis will host the team championships finals, which will be held May 21-24 at Dwight Davis Tennis Center in St. Louis, Missouri. Student-athletes selected to the individual championships will be announced Wednesday, May 8.

BRACKET: View the DIII women's tennis bracket

The championship provides for a 49-team tournament. Automatic qualification (AQ) is granted to 38 conference champions, which form "Pool A."  Two teams will be selected from true independents and schools from conferences that do not have an automatic bid for their champions (Pool B).  The remaining nine teams are selected from those teams in conferences with automatic bids that did not win their conference's AQ and the remaining Pool B institutions (Pool C).  The teams are geographically paired, whenever possible.

The champions of the following conferences received automatic qualification:

The following schools, listed alphabetically, were selected to the championship from Pool B and Pool C candidates:

Claremont-Mudd-Scripps is the defending national champion, having defeated UChicago 5-3 to claim the team title.  For more information about the championships, including the championships bracket, log on to www.ncaa.com.

2024 NCAA DII women's tennis championship: Bracket, scores, schedule

2024 NCAA DII women's tennis championship selections announced

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