Review: Fitz and The Tantrums at ONC 

Fitz and The Tantrums (Slideshow)
Fitz and The Tantrums (Slideshow) Fitz and The Tantrums (Slideshow) Fitz and The Tantrums (Slideshow) Fitz and The Tantrums (Slideshow) Fitz and The Tantrums (Slideshow) Fitz and The Tantrums (Slideshow) Fitz and The Tantrums (Slideshow)

Fitz and The Tantrums (Slideshow)

We've got a collection of hot shots from Fitz and The Tantrums barn-burning performance in Indy this week.

By Jenn Goodman

Click to View 8 slides

As the crowd walked into Old National Center on Tuesday night, they were given Fitz and the Tantrums bracelets that flashed white light every time the wearer clapped. From that moment to the final note audience participation was not requested, it was mandatory. (“For those of you who haven’t been with us before, Fitz and the Tantrums doesn’t do the whole standing still and playing on your phone thing. We want you dancing and moving.”) Fitz and the band didn’t ask the audience to move and dance along with them - they demanded it and the large crowd of vocal and enthusiastic fans were more than happy to oblige them.

The band, touring in support of their album More Than Just A Dream, rocked The Egyptian Room with their eclectic sound; part pop, part R&B, part Motown, but 100 percent powerful. The room crackled with electricity from the band, exuberant fans cast in a torrent of sound and light. The show was forceful and energetic from start to finish with Fitz and co-lead Noelle Scaggs dancing, jumping around and generally using every inch of the stage. Even a stripped down and slower version of “Last Raindrop” was absolutely captivating and energetic The passionate back-and-forth between Fitz and Scaggs is a potent re-imagining that allowed both the band and the crowd to catch their collective breaths. This is a band that knows how to engage its audience and deliver a potent and impressive performance.

The evening was kicked off by Big Data, the brainchild of music producer Alan Wilkis, and best known for their alternative chart topper, “Dangerous.” The first few songs were unsteady and it took a while for the band to find their groove. Halfway through the band settled into a solid, but unspectacular set. Wilkis' herky-jerky robot stage persona was slightly distracting. Not to be outdone by the flashing bracelets, masks with Wilkis' face adorning them were passed out.


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