On Monday night at Mr. Small’s Theatre, Fitz and The Tantrums showed Pittsburgh that, although it’s a band in transition, its members still know how to make a crowd roar.

Once the opener, Ivy Levan, had vacated the stage after an underwhelming performance, the time had come to see Fitz and The Tantrums’ new album tested on a live stage. Just under two years before this performance, the band had wowed a similarly large and excited crowd at Mr. Small’s with its dapper suits, stage presence and irresistible brand of neo-soul. 

But the past year had seen the band shift its sound toward a brand of pop that was fueled more by synth than saxophone, resulting in the surprising and somewhat disappointing release of More than Just a Dream in May. Would the two live performances differ as much as the band’s two albums?

Yes and no. The minute Fitz and company stepped onto the stage, it was clear that the band had transformed. Frontman Michael “Fitz” Fitzpatrick and saxophonist James King had ditched the sharp suits and ties in favor of sneakers, jeans, T-shirts and light jackets, while vocalist and tambourine aficionado Noelle Scaggs rocked shorter hair, black stockings, shorts and a top that had no semblance of the ‘60s motown style she had brought to the same stage less than two years before.

Yet the band’s exuberant energy — the element that makes Fitz and The Tantrums so entertaining as a live act — hadn’t disappeared in this wardrobe swap. When the new version of the band opened up with More than Just a Dream’s “Keepin’ Our Eyes Out,” it was clear that King’s incredible saxophone play, Scaggs’ dance moves and driving charisma and all of Fitz’s bandstanding antics still essentially drove the live performance. 

They brought bells and whistles this time too. Behind the band was a giant series of snaking lights, which formed a heart identical to the art on the band’s newest album. Throughout the show, the apparatus flashed and glowed with beautiful colors and patterns, a gimmicky but fairly effective addition to the band’s repertoire. Despite the lights, however, Fitz’s manic movements around the stage and Scaggs’ ability to play the hell out of the tambourine while keeping time, dancing and belting out choruses remained the most entertaining parts of the act.

Throughout the performance, the band switched back and forth between old and new music with ease, and although crowd members had been enamored with both, they clearly favored the hit songs off Pickin’ Up the Pieces over other tracks. When Fitz, Scaggs and King began to dance in unison in preparation for “Breakin’ the Chains of Love,” the eruption from the crowd felt as though it shook the foundations of the church-turned venue they filled. 

Unfortunately, some of the tracks on the new album, though met with cheers, clearly didn’t carry the same live heft as the older ones. “House on Fire,” which Fitz introduced with a lengthy and just slightly too personal anecdote about being cheated on, didn’t resonate quite as well as expected.

Despite the subdued reaction to some of its songs, the band displayed an impressive level of endurance. After taking the stage, band members held it down for two hours, keeping Pittsburgh cheering and tearing through tracks  with glee and passion. After closing out with “L.O.V.” to end the night, the band answered the lengthy calls for an encore with another half-hour of showmanship, which included its new hit, “The Walker,” old hit, “MoneyGrabber,” and a jaw-dropping cover of The Raconteurs’ “Steady as She Goes.” It was clear that the audience had earned the band’s respect.

More than anything, Fitz and The Tantrums looked comfortable. Over the course of several years, the band has found its niche in the music scene and the courage to abandon that niche in favor of making whatever music its members enjoy, regardless of the critical reception.