Fitz and The Tantrums presale codes

Fitz and the Tantrums came up in Los Angeles, building a lean, horn-and-keys pop-soul sound that first stood out for skipping guitars. Michael Fitzpatrick and Noelle Scaggs trade lines like two drummers on microphones, pushing quick hooks over tight rhythms. Expect a pace that favors dancing and call-and-response, with earworms stacked early and often.

Hooks born from a living-room spark

The project started when Fitz bought a vintage organ and wrote the first song in his living room, and they kept that punchy, direct feel even as stages got bigger. A no-guitar origin shaped their arrangements, giving sax and keys extra space to carry riffs and stabs. Likely anchors include HandClap, Out of My League, The Walker, and MoneyGrabber, with a mid-set stretch built for crowd claps. Crowds skew mixed-age, with dance-pop fans, indie radio listeners, and soul heads all finding something to move to; you see bright sneakers, denim jackets, and people actually singing harmonies.

What might change tonight

For clarity, treat the song picks and production details here as informed hunches from recent gigs, and expect the band to pivot if the room asks for it.

Crowd Signals and Midnight Colors

You see bright windbreakers, retro sneakers, and light denim next to monochrome fits, a mix that mirrors the band's clean lines and throwback touches.

Claps, counts, and call-backs

People come ready to move, and the loudest chants land on the hey-hey hits in The Walker and the count-off punches in 123456. A common moment is the whole floor clapping the off-beat during HandClap, then holding the pause before the drop like a shared breath.

Neon threads, retro nods

Merch leans neon and bold fonts, with a space motif that nods to the Man on the Moon theme and a poster that looks great in a simple frame. Older fans swap stories from early club shows while newer ones trade favorite radio hooks, and no one acts above the singalong. House music between sets pulls from modern disco and sleek R&B, which keeps the bounce alive without stepping on the band's palette.

The Engine Room: Grooves First

Live, the vocals sit upfront, with Fitz delivering clipped, rhythmic lines and Noelle adding power, ad-libs, and counter-melodies. Keys handle most of the riff work, while sax doubles hooks or answers them with short, punchy lines.

Tight turns, bright edges

Drums and percussion push a metronome-steady beat, often leaning on handclap patterns so the room becomes part of the kit. They like short bridges and fast returns to the chorus, keeping songs under radio-friendly lengths even when the crowd wants more. A reliable trick is a breakdown in HandClap where everything drops to claps and kick before a quick rebuild, which lets the back half hit harder. On Out of My League, the band sometimes starts with a softer key pad and delayed backbeat, so the first chorus feels like a lift-off. Sax and keys will swap the lead line on The Walker, a small change that gives the hook a new color without slowing the tempo. Lighting tends to accent the snare and claps with bright white pops, supporting the music without stealing focus.

Kindred Travelers on the Dancefloor

Fans of Walk the Moon often slide into this show, since both acts drive bright choruses with group vocals you can shout without losing the groove. Foster the People share the clean, percussive pulse and a dance-pop sheen that still leaves room for odd little synth hooks.

Pop bounce, soul bones

MisterWives bring a similar high-energy co-lead dynamic and colorful arrangements that favor movement over moodiness. If you like brass and cinematic keys wrapped in indie polish, Saint Motel sits in the same lane, and their fans value playful showcraft. The overlap comes from pace, not volume: these bands keep tempos snappy and choruses tidy so the floor keeps bouncing. That shared intent makes lineups feel connected even when the production styles differ.