On Monday, August 11, in downtown Cleveland, Fitz and the Tantrums proved they can transform a plain weekday evening into a Saturday night-style party!
Touring behind their just-released sixth studio album, ‘Man on the Moon‘—a milestone in their 17-year career—the band brought infectious energy to the House of Blues, delivering a show that felt less like a concert and more like a collective dance party.
From the opening notes of “OCD” and “OK OK OK,” everyone was in motion. Regardless of numbers, the crowd was loud, lively, and fully engaged throughout the entirety of the show. Fitz—AKA Michael Fitzpatrick—himself noticed it, giving shoutouts to especially enthusiastic audience members who fueled his energy.
While every stop on tour has its magical moments, for Fitz and the Tantrums, Ohio was particularly special. Fitz called out, “We wouldn’t be a band without Ohio, straight up,” recalling how their career took shape from Cleveland’s Alternative Radio and performing at the Grog Shop. Gratitude was shown from both sides, artist and enjoyer alike.
Through “123456,” “Moneygrabber,” and “Sway” —with “Out of My League” lighting up the room in a way only those defining songs of an era can—that spirit carried into Young Days, which co-vocalist Noelle Scaggs explained was inspired by today’s youth and the challenges they face. To lead into “Fool,” Fitz took the opportunity to call out the ladies who weren’t as loud as desired. For a rousing second go at it, he broke out the “Ladiiiiiiiiies” until cheers shook the venue. The moment set up his line, “Certified mama’s boy and she didn’t raise no fool,” which segued into the groove-heavy track.
The chemistry between Fitz and Scaggs lit up the stage. Fitz’s wiry, wiggly dancing—reminiscent of David Byrne—matched the music’s quirky rhythm, while Scaggs balanced charisma with warmth, at one point sending heart hands to the audience and receiving a sea of them in return. Both were mesmerizing in their own ways, and when they crossed over, it was something to marvel at.. Across the board, it was evident that everyone on stage was just having a jolly good time. It was refreshing to see artists just as in-the-moment as their fans.
The show commemorated more than just a good time; it also celebrated a significant milestone. Drummer John Wicks, as well as Noelle’s Cleveland Area-residing older brother, shared a birthday that very night—as did an audience member. Scaggs’ brother brought his kids to the show and garnered more attention than he may have hoped as the crowd sang “Happy Birthday.” The song was sand loud and strong, but it stumbled over inserting the correct names, although it did garner a collective laugh.
Strangers moved shoulder-to-shoulder, losing themselves in the music so much so that it felt as if no one else was in the room. (What’s the expression? “Dance like nobody is watching”?) Elderly couples jammed out alongside college kids, parents with teenagers, and groups of middle school friends. Song after song, anyone in attendance could all join in the celebration of music. Fitz even pointed out one man whose energy was something he was “feeding off of.” That detail, small as it was, captured the essence of the evening: a reciprocal exchange between artist and audience.
The musicianship on stage was as impressive as the atmosphere. James King rotated seamlessly between saxophone and flute, adding richness to already bold arrangements. Joseph Karnes on bass and Jeremy Ruzumna on keys brought a level of dynamic depth to the musical arrangements.
By the time the main set closed with an exuberant execution of “The Walker,” no one was ready for the concert to end. The crowd demanded more with a rare unified chant of “Encore!”—and, of course, the band answered. The four-song run began with “All the Feels” and “MoneyMaker,” followed by “Let Yourself Free,” which carried a communal uplift. However, it was the inevitable closer, “HandClap,” that sent the night into overdrive. The sound of hundreds of hands clapping in sync sent shockwaves through the House of Blues for a finale like no other—one that left the song echoing in everyone’s heads for days after.
Fitz and the Tantrums had once again proven their mastery of turning a room full of strangers into one unified celebration. For a Monday night in Cleveland, it was a pretty spectacular experience.
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