A&E

Five thoughts on Fitz and the Tantrums and Capital Cities at the Chelsea

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Fitz and the Tantrums singer Michael Fitzpatrick and singer/hype woman Noelle Scaggs brought the best out in each other on hits like “The Walker” and “MoneyGrabber.”
Erik Kabik, Retna
Jason Harris

Fitz and the Tantrums, Capital Cities February 18, the Chelsea

The member of Capital Cities who had the best set was Computer. That’s not the name of an actual person; just a computer. There were so many sound effects, loops and voice modulations, the rest of the band—aside from trumpet player Spencer Ludwig—could have taken the night off. Computer was probably extra prominent because singer Ryan Merchant wasn’t at the show (he’d had a baby one day earlier). But if other singer Sebu Simonian has to rely so heavily on Merchant that he needs all these tricks to lead a show, why is Simonian onstage?

Capital Cities played breakthrough hit “Safe and Sound,” then closed the set by using trusty Computer to play an EDM-style remix of the same song, while the band danced and begged the audience to wave articles of clothing. Nobody played anything! Lame and pandering.

Fitz and the Tantrums, on the other hand, brought its A game. Singer Michael Fitzpatrick and singer/hype woman Noelle Scaggs brought the best out in each other on hits like “The Walker” and “MoneyGrabber.”

If the band ever breaks up, Fitzpatrick could easily become the world’s best Daryl Hall impersonator. He just has to find himself an Oates.

Props to the Cosmo for bringing Fitz and the Tantrums to Book & Stage before they were a known commodity, but nothing can compare to seeing a set piece like “L.O.V.” in a proper concert venue. Long live the Chelsea.

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