Toadies on tour with a New Album after Nearly a Decade
Toadies came to Nashville with Local H and Vandoliers to play Eastside Bowl.
When I heard that the Toadies were coming on tour through Nashville, I immediately got those tickets. In 1994, their debut album Rubberneck was released, and it was one of those CD’s that permanently stayed in my car. In fact, I believe that album was the reason I went and got one of those CD players that attached to a cassette so I could play it in my 1984 Mazda GLC (Google all that kids). As obsessed as I was with that release I never saw the band in concert until now.
The current tour is built around a new album called The Charmer. It was released on May 1, 2026, via Spaceflight Records, and it is their first full-length studio release in nearly a decade. Produced by the late Steve Albini in 2024, the 13-track album features a raw, fast-paced sound born from “pandemic-era introspection”. Frontman Vaden Lewis had said in a statement, “This album has been a long time in the works, and it’s such a joy to see it come together, we went back to basics for this session: all analogue, live takes, high energy.” Drummer Mark Reznicek added, “I’ve been a fan of Steve Albini’s since I first heard the albums he recorded with the Pixies and PJ Harvey, so being able to record with him is really a dream come true. In fact, when we first signed with a major label, they asked us who we would like to work with and we all said “Albini!” Well, for whatever reason, the label didn’t go for it. And now 30 years later, it finally happened!”
Not only is the album a fiery showcase of amazing new music, but the group is also joined on the road with Local H and the Vandoliers. Add the fact that the event was at Eastside Bowland I got my tickets as soon as they went on sale in February. Eastside Bowl is a rejuvenated K-Mart that is indeed home to a magnificent row of lanes and has the ability to host three shows at one time. They have The Main Room (where this event was), The ‘58 and The Lounge on site and all of those plus the smacking of those pins were going off on a Friday night.
The Vandoliers get that “y’allternative” genre thrown their way as the group hails from Texas, but they lean the way of a formidable punk band. Jenni Rose is at the helm, and she make no apologies about the bands messaging which deals with trans rights, body imaging and mental health. You might think of Tennessee as a Red State, which it certainly is, but Nashville is mostly Blue and is very fired up about recent political decisions decided by our Governor, Bill Lee, and his pals in office. I’ll let you do the research for yourself, and please do!
The Vandoliers are not new to Tennessee and their legislature. The band happened to be playing a show in Maryville, Tennessee in 2023, the same day that Lee had signed what was generally understood as a “drag ban.” Cory Graves, who sings and plays keyboard and trumpet in the band, suggested they all wear dresses for their show that night in protest. “I was like, ‘Hell yeah, I would love to do that’ — like, how harmless is this?” says Rose. Photos from the show went viral, and were covered by Rolling Stone, among many other outlets. Rachel Maddow did a segment on the band on MSNBC. “That was the first time I had ever worn a dress in public, but not the first time I had worn a dress — and then the entire planet saw it. The wall that I had keeping this side of me invisible was completely shattered. I wrote down in my journal, ‘Fuck, I think I’m trans.'”
The sound was fantastically ferocious, as the band lit up the room with an uproarious vibrance that we were all looking for. They provided us with a healthy outlet to share our frustration and throw middle fingers in the air whilst jamming along with poignantly fueled lyrics. The songs are honest and confessional at times, which allows us all to connect with the band and with each other. The Vandoliers are hard rocking and ready to face all authority that challenges basic human rights. I am now a huge fan and will be listening often.
Seeing Local H on the bill also sparked remembrance of youthful college parties of the mid 90’s. Songs like ‘Bound for the Floor’ and ‘Eddie Vedder’ ripped through the Magnavox speakers that were stacked in the corner of my apartment in Central Florida. When the album, Good As Dead, dropped in 1996, it was another disc that gained heavy rotation with me and my friends. And yet, this was another band that I never saw in concert. So, 30 years later, I finally had my chance to see the Illinois founded group headed by guitar player and vocalist Scott Lucas. The album has also been reissued to commemorate the three decades since its release.
“Earlier this year, I was rather rudely awakened to how little respect others have for the record,” Lucas says, pointing to an industry full of unauthorized, substandard pressings flooding the market. “Job one with this new re-issue was to reclaim this record and make sure that it continues to be available to all the new listeners that want to have a quality release without having to pay an arm and a leg on eBay.” The crowd was filled with fans of old (my age), but also had a smattering of younger demographics and a few families that were sharing in the lore of this iconic band.
The show was a joy to behold. I have spoken of this before, but I will mention again that I love to take a few peeks away from the stage to gaze into the eyes and smiles of others watching a show. I am a barricade baby and tend to get right up front to see my favorites, but I always peel my head around 180 degrees to bask in the jubilation of the human horde. The setlist included those two pinned tracks in my mind as well as a couple of great covers in ‘Can’t Hardly Wait’ (The Replacements) and ‘T.V. Eye’ (The Stooges). Ryan Harding, who took over behind the drum kit in 2013, was a focal fixation as well. He played with an impactful density that punched through the air and lent that important rhythmic pulse that is instrumental to the Local H sound. Lucas was massively splendid with his playing and vocals as well. After all this time he hasn’t missed a mark. They sounded like their records. Sure, we are all a little greyer, and our backs might a bit more the next day, but in that moment in time, when we are locked into those tones, nothing else matters.
The Toadies were finally up, and it was so cool to see them with my own eyes. I have been listening to the new record since its release, and I am happy to report that it sounds magnificent. The Charmer is a throwback to that earlier 90’s sound, or maybe “throwback” is the wrong word because it is just them. They didn’t attempt to reinvent themselves or try new tricks; they simply stuck to what they know, and so the old stuff and the fresh stuff blend together neatly.
The stage was branded with “No Nazis” signage (see photo) incorporated into the theme of anti-fascism that the artists made sure to mention during their collective sets. There is a battle that I believe we must continue to fight, and I was happy to be in a crowd that felt the exact same way. I often hear people say things like “Musicians need to leave politics out of their sets and just play songs”. I think that is the dumbest thing ever. I don’t need a long-winded diatribe about their beliefs, but good-short jabs about a stance is just perfect. Also, aren’t all the best songs usually about rebellion?
The Toadies made sure to point out another important facet of the times we live in which is “the burnout” and mental health. Singer, Vaden Lewis made sure to point out his struggles with suicide and a feeling of emptiness. He told the audience that they are not alone and that he was glad that everyone is here right now and that they should stick around. Lewis mentioned the suicide prevention group that was right outside the doors at the venue. It was an open moment and a vital snapshot of tenderness. The gig was superb, and the Toadies played for nearly an hour and a half with a thoughtful collection of songs. Rubberneck’s staples ‘Possum Kingdom’ and ‘I Burn’ made the list and the band even added a really well-donecover of ‘I Put a Spell on You’ by Screamin’ Jay Hawkins.
No Notes.
