Styx and Loverboy exploded onto the Charleston stage with a throwback rock experience overflowing with crowd-shaking power, harmony, and nostalgia.
Loverboy wasted no time setting the tone for the night, hitting the stage as a tight five-piece unit and immediately pulling the crowd into a full-throttle throwback. The show opened with the keyboardist standing alone in a narrow spotlight, easing into the unmistakable intro of “Notorious.” Behind him, the big screen displayed the single word “Loverboy,” stylized with a constant flicker that mimicked the static of an old UHF television — a clever nod to the band’s early-MTV era roots.
From the jump, the group delivered a surprisingly full and polished sound, powered by a wall of Marshall stacks lining the stage. The band’s versatility shone early, especially as their keyboard player swapped instruments and showcased his saxophone work during “Take Me to the Top,” adding a raw, nostalgic texture that fit the moment perfectly.
Momentum built steadily as they tore into classics like “The Kid Is Hot Tonight,” a reminder of how deep their catalog runs, and “Lovin’ Every Minute of It,” which featured a lively call-and-response led by frontman Mike Reno. Reno still carries flashes of that signature ’80s high-range vocal punch, and the crowd fed off it.
But it was “Turn Me Loose” that became the turning point. After a seamless keyboard transition from the previous song, the arena erupted. The band locked into a slow, powerful grind, delivering flawless harmonies and their strongest performance of the night.
Before closing, Reno stepped to the mic and teased the crowd: “Before we go, I want to talk to Matt on the drums here… he has a little treat for you.” The drummer answered with a cowbell, launching the band into “Working for the Weekend,” the explosive finale of a solid, high-energy hour-long set.
Styx hit the Charleston stage like a band with nothing left to prove and absolutely everything still left to give. Taking the stage as a six-piece powerhouse—three guitarists, a dedicated bass player, a synth/keyboard master, and a drummer sitting behind a massive, arena-sized kit—the group wasted no time showing why they continue to be one of rock’s most enduring live acts. Their five-part harmonies, soaring vocals, and thunderous, full-band presence immediately washed over the arena, electrifying the crowd from the first note of “Build and Destroy.”
By the fourth song, “Lady,” the energy inside the venue shifted into something communal. Thousands of voices joined together, belting the lyrics word for word as if the entire arena had authored the track themselves. Frontman and keyboardist Lawrence Gowan commanded attention from behind his spinning keyboard stand, elevating every moment with both vocal power and theatrical flair.
Styx leaned heavily into visual nostalgia as well, especially during “Miss America,” when the big screen pulsed with psychedelic, 80s-inspired graphics. The mood turned cinematic on “I’m OK,” which opened with the stage completely dark, fog drifting across the floor, and a lone spotlight illuminating the drum kit. Tommy Shaw then tore into one of the night’s standout guitar solos, showcasing exactly why he remains one of rock’s most respected players. He delivered again on “Crystal Ball,” his smooth, melodic vocals belying the song’s nearly 50-year history before exploding into another pristine solo.
After the first set of heavy hitters, Gowan introduced the band with style—“The Man of Styx” Tommy Shaw, bassist Chuck Panozzo, guitarist Will Evankovich, drummer Todd Sucherman, “the legend” James “J.Y.” Young, and of course, Gowan himself, “the unmistakable voice of Styx.” It was a moment of both humor and reverence, drawing massive applause.
“Rockin’ the Paradise” ignited another surge of energy with Gowan stepping out front, delivering a truly electric performance. New material found its place as well, with “Michigan” representing their most recent album, Circling From Above, proving the band isn’t content to live solely in nostalgia.
But classics stole the show. “The Best of Times” showcased flawless vocal range, “Blue Collar Man” hit with razor-sharp harmonies and blistering guitar work, and “Fooling Yourself” turned into a massive sing-along after Shaw teased the crowd. Then came “Come Sail Away,” a breathtaking, emotional performance with silky vocals and soaring high notes that reminded everyone why this track remains immortal.
The band briefly exited as chants of “STYX! STYX! STYX!” thundered across the arena before returning for a two-song encore: a cinematic, crowd-pleasing “Mr. Roboto” and a roof-shaking “Renegade.”
By the final note, there was no question—this show was nothing short of phenomenal.
