*Alt text:* Fitz and The Tantrums having a fun band photoshoot.

Few bands manage to evolve while keeping a distinct identity — but Fitz and The Tantrums have done just that. From their soulful beginnings in Los Angeles to headlining national tours, they’ve built a career rooted in energy, musicality, and bold creative choices. Their 2025 release, Man on the Moon (Atlantic Records), ventures into new territory even as it reaffirms everything that makes them special.

Roots, Spark & Early Ascent

The genesis of Fitz and The Tantrums is as organic as their sound. In 2008, frontman Michael “Fitz” Fitzpatrick stumbled into inspiration when he dusted off an old electronic church organ in his home and composed the seeds of what would become “Breakin’ the Chains of Love.” That track, with its raw emotional impulse and undeniable groove, galvanized Fitz to assemble a band that could match that energy in performance.

He reached out to musicians dear to his ear: vocalist Noelle Scaggs, keyboardist Jeremy Ruzumna, bassist Joseph Karnes, multi-instrumentalist James King, and drummer John Wicks (who would later depart and be succeeded by other touring percussionists). The chemistry was immediate. In interviews, Fitz has recounted how, after just a few rehearsals, they were already gig-ready —a testament to their shared vision and musical compatibility.

In their earliest shows at L.A. spots like Hotel Café and Spaceland, the band’s mix of tight rhythms, punchy horns, and duet vocal interplay stood out in a crowded local scene. By late 2009, they landed an opening slot on Maroon 5’s tour — an early signal that their sound was catching on beyond small clubs. Within a year of forming, they were signed to Dangerbird Records and were preparing to release their debut album.

Breakout & Reinvention

Their debut studio album, Pickin’ Up the Pieces (2010), introduced a fresh voice: soul-inflected indie pop that avoided retro mimicry. Critics praised it as “soul music without the nostalgia trip,” and fans flocked to its immediacy and spirit. The album ascended the Billboard Heatseekers chart, a sign that the band was reaching audiences beyond their hometown.

Over the next few years, Fitz and The Tantrums didn’t rest on that success. Their 2013 second effort, More Than Just a Dream, leaned more into pop scaffolding and radio hooks. Tracks like “Out of My League” and “The Walker” delivered catchy refrains but sturdily built upon their soulful foundation. The band showed they could expand sonically without shedding their core identity.

Then came 2016’s self-titled album, the moment of commercial breakthrough. Lead single “HandClap” became ubiquitous. It climbed charts, powered stadiums, and became a kind of cultural touchstone: from advertisements to TV appearances, and even video games like "The Walker" in NBA 2K18. But amid the pop success, Fitz and The Tantrums never lost their sense of live musicianship: horns, rhythm interplay, and vocal dynamics continued to define their live shows.

They followed that with All the Feels (2019) and Let Yourself Free (2022), each record pushing boundaries (sonically, lyrically) while retaining that combination of bounce and soul

*Alt text:* Noelle Scaggs from Fitz and the Tantrums singing at a live performance.

Man on the Moon: A New Horizon

With Man on the Moon, released mid-2025 via Atlantic, Fitz and The Tantrums enter a bold new chapter. This is their sixth studio album, one that leans into both emotional openness and rhythmic drive. They’ve called it their most daring yet — less about chasing trends, more about letting creativity breathe.

The title track “Man on the Moon” arrived as their lead single and set the tone: expansive, dreamy, grounded in melody. Through it, the band signals that their next phase doesn’t fear space, whether sonic or emotional. In album reviews, critics have noticed that many tracks here are intentionally lean; songs feel direct, often cutting off before overstaying their welcome, giving the record momentum and immediacy.

One song, “The Good, the Bad, and the Ugly”, reveals surprising textures with whistles, castanets, and cinematic nods that hint at Ennio Morricone influences embedded within pop structures. Elsewhere, “Waste My Time” features acoustic flourishes and brass elements, “Queen of Hearts” experiments with tape loops and layered synths, and “One Day” closes the album with strings, ukulele, and a sweeping, global sensibility.

“Young Days” gives Noelle Scaggs a moment in the lead with anthemic yearning, while tracks like “Oh Maria”, “Ruin the Night”, and “Perfume” balance mood and danceability. The overall flow is energetic yet introspective — a record that dances but also lets the listener breathe.

Notably, the album embraces both light and shadow. Lyrically, it explores themes of longing, escape, and renewal. Musically, it blends their signature soul-pop with elements of psychedelia, minimalism, and cinematic layering. The result is a sound that feels both familiar and expansive.

Band Dynamics & Identity

At the heart of Fitz and The Tantrums is the synergy between Fitzpatrick and Noelle Scaggs. Their voices converse and contrast — his often plaintive, hers powerful and direct. Together they steer each song’s emotional arc. Their stage presence is magnetic, exuding both warmth and intensity.

Backing that dual vocal front is a band built for depth. James King weaves horn lines that lift hooks higher; Jeremy Ruzumna fills the space with keys that shift from vintage warmth to digital precision; Joseph Karnes locks in the groove with a bass that anchors without overplaying. And past drummer John Wicks, who left in 2022 to pursue teaching, the rhythm foundation continues to evolve with touring percussion partners.

One of the most interesting choices from the band has been their relative avoidance of a dominant guitar presence. As Fitz once noted, he wanted to experiment with creating big, full records without relying heavily on guitar—letting other textures carry the role instead. That decision helps their sound feel distinctive — not tethered to rock tropes, but open to broader color palettes.

Their influences are broad. They nod to Motown, Stax, and classic soul, but they’re not content to replicate. Instead, they filter that heritage through modern pop, shimmering synths, unexpected instrumentation, and vocal interplay that keeps every performance alive. What remains consistent is honesty: the melodies and lyrics tend toward earnestness, not irony. That combination — groove, heart, and craft — is what helps them endure.

*Alt text*: Fitz and The Trantrums during a live performance, clear chemistry and charisma.

Tours, Reach & Cultural Footprint

Man on the Moon is backed by an ambitious touring plan. The band announced a 31-city North America headline tour, launching in San Diego and concluding in Austin, with Aloe Blacc and Neal Francis supporting select dates. The tour underscores the band’s maturity: they’re no longer climbing — they’re solidifying legacy.

Over their career, they’ve performed at major festivals (Coachella, Lollapalooza, etc.), appeared on late-night television, and crossed genres in collaborations and sync placements. Their songs have become soundtrack fixtures — HandClap alone has been licensed for commercials, sports events, and more. Their influence lies not just in hit singles but in cultivating a model for pop artists who value live musicianship, evolving aesthetics, and emotional integrity. For younger artists watching, their trajectory is a blueprint: start with a strong artistic identity, grow thoughtfully, remain open to change — but hold your core.

Behind the Scenes: A Quiet Signal

While the band’s energy defines the performance, its polish comes from the team behind the scenes. Alan Glas, the band’s audio engineer, recently reached out to Echotone Music to acquire a pair of Whirlwind W1 Classic Stage Boxes — a nod to trusted reliability in a world of rapidly changing audio tech.

Alan also shared that Fitz and The Tantrums’ 2025 tour is powered by the Avid S6L control console, which handles both monitor and main mixes. It’s one of the most advanced live sound systems in the world — capable of processing an extraordinary number of audio channels simultaneously with virtually zero latency. Few consoles can match its flexibility or headroom, and for a band as sonically layered as Fitz and The Tantrums, that power is essential.

The choice of gear reflects not just quality, but philosophy. Like the band itself, the team behind the sound values consistency, clarity, and craftsmanship. Every night’s show is fine-tuned to deliver the same punch and warmth that define their studio recordings.

Why Fitz & The Tantrums Still Matter

In a music landscape that often values novelty over continuity, Fitz and The Tantrums remains a bridge: between eras, between heart and rhythm, between pop ambition and soulful craft. They’ve avoided chasing fads; instead, they evolve around their strengths. Their catalog is a walk through growth — each album building on the last, exploring new textures without erasing what came before.

Man on the Moon captures that tension beautifully: it is both refuge and launchpad, allowing listeners to dance and reflect simultaneously. It’s a statement that growth doesn’t require reinvention — sometimes it means deeper exploration.

For fans just discovering them via modern streaming or tour buzz, previous albums (Pickin’ Up the Pieces, Fitz and the Tantrums, Let Yourself Free) offer a fuller perspective on how they’ve traveled this path. And for long-time listeners, Man on the Moon reaffirms why the band has stayed compelling — because their creativity is ongoing, not fixed.

Wherever listeners enter their catalog — in the horns, the dual vocals, the grooves, or the lyrical ambition — Fitz and The Tantrums prove that a band can be both pop-forward and soul-rooted. And after 15+ years of making music, that kind of balance is its own form of artistry.