State Theatre & 98.9 WCLZ presents

Fitz and The Tantrums and St. Paul and The Broken Bones

with Seratones

Wed, June 8, 2022

Thompsons Point

Doors: 5:00pm - Show: 6:00pm - all ages

$45 advance
$50 day of show
Kids 3 and under free

The Thompson’s Point Box Office opens at 3pm day of show. On-site parking is limited, buy in advance above. Free Valet Bike Parking will also be available. All Thompson’s Point shows are rain or shine.

Effective April 1, the State Theatre will no longer require proof of vaccination or a negative COVID test for patrons attending Thompsopn’s Point performances & events unless required by Artist, in which case we will post the requirement on the individual event page. Masks are optional unless required by Artist. It is important to check each event’s individual event page for updated COVID entry protocols before coming to the venue.

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Fitz and The Tantrums

A dollar per ticket from this event will be donated to Diversify The Stage, a social impact organization supporting underrepresented communities & next generation leaders looking to break into live entertainment and production careers.


Multi-platinum artists Fitz and the Tantrums have quickly grown from independent upstarts to bonafide hitmakers. The LA-based band recently released their much-anticipated, fourth full length album “ALL THE FEELS,” featuring singles “123456” and “I Just Wanna Shine.” “ALL THE FEELS” follows the band’s 2016 release “FITZ AND THE TANTRUMS,” which spawned the group’s biggest hit to date, “HandClap.” The RIAA-certified 2x Platinum single has logged more than 400 million global streams, went top 5 on both the Hot AC and Alternative Radio charts, and also enjoyed major airplay across the country at Top 40. The band has brought the infectious energy of their live shows to the small screen, with nationally televised performances of “HandClap” on ABC’s “Dancing With The Stars,” “Good Morning America,” and “Jimmy Kimmel Live!,” NBC’s “TODAY,” “Tonight Show Starring Jimmy Fallon,” “America’s Got Talent,” and Macy’s Thanksgiving Day Parade, and the syndicated “Ellen DeGeneres Show” among others. Fitz and the Tantrums’ eponymous album followed their breakout major label debut, “MORE THAN JUST A DREAM,” which featured back-to-back Platinum-certified, #1 Alternative Radio singles in “The Walker” and “Out Of My League.” Both singles also enjoyed Top 15 success at Hot AC. The band has performed countless, sold out headlining shows and is always a standout at music festivals around the world, including Coachella, Bonnaroo, Lollapalooza, Austin City Limits, and more.

Fitz and the Tantrums are: Michael “Fitz” Fitzpatrick (vocals), Noelle Scaggs (vocals), James King (saxophone, flute), Jeremy Ruzumna (keyboards), Joseph Karnes (bass), and John Wicks (drums, percussion).

St. Paul & the Broken Bones

A fever dream in sonic form, St. Paul & The Broken Bones’ new album The Alien Coast represents the most adventurous and original output yet from an ever-evolving musical powerhouse. In a profound shift for the Alabama-bred eight-piece—Paul Janeway (vocals), Jesse Phillips (bass), Browan Lollar (guitar), Kevin Leon (drums), Al Gamble (keyboards), Allen Branstetter (trumpet), Chad Fisher (trombone), and Amari Ansari (saxophone)—the band’s fourth full-length and first for ATO Records strays far from the time-bending soul of past work like their 2014 debut, arriving at a convergence of rock & roll, R&B, psychedelia and funk. At turns explosive, elegant, and unhinged, that sound makes for a majestic backdrop to St. Paul & The Broken Bones’ visceral exploration of the strangest dimensions of the human psyche. Produced by Matt Ross-Spang, The Alien Coast is the first album St. Paul & The Broken Bones have ever recorded in their hometown of Birmingham. In creating the ultra-vivid dreamscape threaded throughout The Alien Coast, the band’s chief lyricist drew inspiration from such disparate sources as Greek mythology, dystopian sci-fi, 17th century Italian sculpture, and colonial-period history books.

Seratones

A collision of explosive abandon and nuanced restraint defines ‘Power’, as songs blur the lines between sugary Doo-Wop and distorted gospel, between Ronnie Spector pop and Audre Lorde poetics, transforming existential dread into dance floor ecstasy, channeling Prince’s unequivocal sensualism painting pleasure and power as two sides of the same coin. Produced by Cage The Elephant guitarist Brad Shultz, the record finds the Shreveport five-piece trading in the brash proto-punk of their critically acclaimed debut for a timeless brand of gritty soul, one that takes its cues from vintage Motown and Stax even as it flirts with modern synthesizers and experimental arrangements. Perhaps even more marked than the any sonic development on the record, though, is Haynes’ lyrical turn, which points her gaze inwards for the first time as she grapples with race, gender, and justice, writing with an unfiltered honesty that at once exudes strength and vulnerability, hope and despair, beauty and pain. “Sometimes, when you’re in the thick of the struggle, it’s hard to see the possibility of change,” she reflects, “but you keep striving nonetheless. Some call it faith. I have yet to find the right words, but I’m still trying.” In the end, there may be no act more subversive, more radical, more powerful than that.