FITZ AND THE
TRANTRUMS
In an era where the music industry shifts by the second, Fitz and the Tantrums have found a way to stay ahead of the curve.
Since their breakout in 2008, the Los Angeles-based band has carved a niche for themselves with high-energy anthems and an infectious live presence. But as the landscape continues to change, frontman Michael “Fitz” Fitzpatrick and co-vocalist Noelle Scaggs are more focused than ever on navigating an industry that looks nothing like it did when they first started.
“We signed a 360 deal back then and nobody does 360 deal anymore,” Fitzpatrick explains about their early contract. “At that time, the labels were scrambling to get a piece of everything because they saw their sales dwindling.” Fast forward to today and there are more contractual options available, including retaining ownership and pursuing licensing deals instead.
That ownership is something Fitz and the Tantrums have embraced wholeheartedly. While their journey began within the major label system, the band has since taken a more self-sufficient approach, particularly as traditional revenue streams have become less reliable. “We are probably one of the last generations of bands that were still making money off of sales from an indie, kind of alternative rock standpoint,” she says. “Nowadays, unless people are going to your shows, those commodities are not being sought after.”
It’s a reality that many artists are waking up to, and one that has fueled the band’s passion for educating musicians about the business side of their craft. “Young people know about the record industry in a way they never did when I was coming up,” Scaggs notes. “I was always encouraging young people to learn about PROs, to figure out what SoundExchange did, to make sure they were registered as actual creators.”
Fitz and the Tantrums have continued to thrive, thanks in part to their ability to evolve creatively. But that evolution hasn’t always come easy. After the success of their early singles like “MoneyGrabber” and “Out of My League,” the pressure to keep delivering hits took a toll. “It was the biggest moment in our career and the pressure you feel going into your next album can be crushing,’” Fitzpatrick recalls. That pressure nearly stifled their creative process—until they stopped overthinking it.
After six months of writing with no breakthroughs, frustration led to an unexpected moment of inspiration. Enter “HandClap,” the 2016 single that became one of the band’s biggest hits. “The song wrote itself in about 15 minutes,” Fitzpatrick says. “It came out of sheer frustration and a willingness to abandon any sort of expectation and, of course, that’s when the musical gods are kind enough to give it to you.” The track, with its pounding beat and infectious hook, became an instant crowd favorite, proving that, sometimes, letting go is the key to success.
For Fitz and Scaggs, the real magic happens on stage. “When you go on tour, and you go on stage and you’re listening to people sing your songs that you spent almost a year creating,” Scaggs relishes, “that’s the reminder of what you’re doing this for – to spread joy.” That philosophy is what keeps them going, even as the industry continues to throw curveballs.
Even with massive hits, making a living as a musician is tougher than ever, especially with the rise of streaming and unpaid radio play. Fitzpatrick and Scaggs are vocal advocates for the American Music Fairness Act, which seeks to ensure performers get paid when their music is played on AM/FM radio.
“When I found out about it, I was like, ‘How long are we gonna keep letting this happen?’” Scaggs says. Fitzpatrick adds that people assume musicians are making a fortune from their music being played in public spaces. “Our music gets played in almost every sports arena in America, every night, for every sports game. I get a least two texts a day – ‘I’m at Starbucks, heard your music’ – but we’re making nothing, or one hundredth of one penny per play.”
Scaggs drives the point home, saying, “Any congressional leader that has the power to help shift the narrative as it relates to fairness and compensation for artists has to remind themselves that what we do is not a hobby,” she says. “It’s not just for the consumption of pleasure for people – we have bills to pay.”
Amid the obstacles and an industry that shows no signs of slowing down, Fitz and the Tantrums remain dedicated to their craft. For Fitzpatrick, it all comes down to making music that matters. “Music is a necessity of life,” he says. “You make something you’re proud of, and hopefully, people gravitate toward it.” And for Scaggs, the goal is clear: “Trying to figure out how to put out positive energy that allows people to transcend joy is probably one of my biggest passions right now.”
As they continue to navigate an industry in flux, one thing is certain: Fitz and the Tantrums aren’t stopping anytime soon.