Toadies / Local H – McKees Rocks, PA

Toadies Bring The Charmer Tour to the Roxian with Local H

***Toadies – Roxian Theatre, McKees Rocks, PA***

Toadies brought their The Charmer tour to the Roxian Theatre in McKees Rocks, Pennsylvania with Local H opening the night. The two band lineup moved through a mix of new material and older, often associated with “Possum Kingdom” and “Bound for the Floor” both sets made it clear those songs are only part of the story. Local H opened the evening with a fast moving set built around their two piece setup, while Toadies followed with a 23 song performance that balanced new tracks with familiar material.

The Roxian Theatre in McKees Rocks, Pennsylvania welcomed alternative rock veterans Toadies and Local H for a night that balanced longtime fan favorites with newer material. With Toadies touring behind their latest album, The Charmer, released just last month, the evening offered a look at where the band is today while still celebrating the songs that built its reputation.

Local H took the stage and skipped the introductions. Scott Lucas hit the opening chord and the duo was off. Lucas’ trademark guitar setup, which covers both guitar and bass frequencies, filled the room with the thick sound that has defined the band for decades. It is not a polished approach, nor is it meant to be. The rough edges are part of what makes Local H work.

Behind the kit, Ronnie DiCola kept everything moving with a steady sense of urgency. The connection between the two musicians remains the centerpiece of the band’s live show. With only two members on stage, Local H still manages to sound much larger than expected.

Opening with a cover of Loverboy’s “Working for the Weekend” the band approached its 45 minute set with purpose. Lucas moved constantly around the stage while DiCola hammered away behind him. The set moved quickly with very little downtime and only a few brief comments from Lucas between songs.

***Local H – Roxian Theatre, McKees Rocks, PA***

The loudest reaction came during “Bound for the Floor” which featured a section of The Stooges’ “T.V. Eye” worked into the middle of the song. Lucas paused briefly for a drink from his red Solo cup before returning to the familiar riff. “High Fiving MF” closed with a stretch of feedback that felt like it could come apart at any moment but never did.

For the final song, “Manifest Density, Part 2” Toadies bassist Doni Blair joined the band on stage, bringing Local H’s set to a fitting close and drawing another strong response from the crowd.

Toadies took the stage just before 10 p.m. to the familiar theme from Rocky. It felt like a late start for a Wednesday night show, but any concern about the hour quickly disappeared once the band launched into its set. With lanterns, lighting towers, and crows framing the stage, the band opened with the instrumental “Ash’s Theme” before moving directly into “I Come From the Water.” The crowd responded immediately, turning the chorus into a venue wide singalong.

Frontman Vaden Todd Lewis and guitarist Clark Vogeler built the band’s sound through layers of rhythm and lead guitar, shifting between thick riffs, jangling melodies, and extended instrumental passages. Lewis delivered his vocals with the same mix of grit and tension that defines the band’s recordings, while also handling rhythm guitar duties that anchored many of the songs. Vogeler complemented him with sharp lead lines, textured fills, and solos that cut through the dense arrangements without overpowering them. Behind them, bassist Doni Blair provided a steady low end that helped drive the songs forward, often locking in closely with drummer Mark Reznicek. Reznicek’s playing balanced power and precision, moving comfortably between driving rock beats and more restrained passages that allowed the dynamics of the songs to develop naturally. Colored lights washed the stage in shades of orange, green, red, and blue, changing with the mood of each song.

While the band’s roots remain tied to Rubberneck, Toadies showed plenty of confidence in their newer material. Ten songs from The Charmer found their way into the set, something almost unheard of with today’s touring bands, they fully committed to showcasing the new record. Tracks such as “I Walk the Line” sitting comfortably alongside the older songs. During “The Charmer” a backdrop featuring the album artwork dropped from the ceiling, drawing one of the louder reactions of the evening.

The Rubberneck material continued to connect strongest with the audience. “Happy Face” featured an extended outro that pushed beyond the album version, while “Mexican Hairless” carried a little more weight in the live setting. During “I Call Your Name” the band gathered together at the front of the stage as the song opened into a longer instrumental section, creating one of the night’s more memorable visual moments.

Lewis spent little time speaking between songs, but when he did address the crowd, the comments carried meaning. Before “Normal” he spoke about the personal experiences and mental health struggles that helped shape The Charmer, offering encouragement to anyone facing similar challenges. The conversation created a genuine moment of connection and gave added context to one of the set’s most personal songs.

From there, Toadies continued through a mix of fan favorites and deeper cuts, with “Possum Kingdom” and “Tyler” providing some of the biggest singalongs of the night. The four song encore opened with a surprise appearance from Local H’s Scott Lucas, who joined the band for an eerie cover of Screamin’ Jay Hawkins’ “I Put a Spell on You.”

Across a 23 song set, Toadies found a comfortable balance between honoring their past and showcasing new material. The newer songs never felt out of place among the classics, and the audience remained engaged throughout, singing along, cheering, and chanting the band’s name. Combined with Local H’s direct and no nonsense opening set, the evening served as a reminder of why both bands continue to draw devoted crowds decades into their careers.