Cosas que hacer en Bristol

Live Nation Presents Overpass In their short history, Birmingham’s overpass have inspired an ever-growing fanbase with songs pulsating with youthful exuberance and the vulnerabilities of young adulthood. Their shows have been just as life-affirming, providing a dopamine burst of wall-to-wall singalongs and an all-in-this-together communion. As they approach the release of their debut album, ‘Elsewhere, Always’, overpass are primed to take that personal connection to much bigger audiences. For a record made with such confidence and conviction, the dichotomy of ‘Elsewhere, Always’ is that it is born from uncertainty. It’s a maelstrom of twenty-something existential confusion, an approach neatly encapsulated by its lead single, ‘Union Station’ - arguably their first song to truly have the arena-filling, airplay-hit potential. ‘Union Station’ was inspired by hearing a conversation about our dog-eat-dog world. “The idea of life being one big competition freaked me out a bit. I never wanted to fight for jobs or houses or compare myself to everyone else,” begins vocalist/guitarist Max Newbold. He compares its Springsteen-ish imagery of a fictional train station and its endless destinations and possibilities to “the place you run to when you’ve mentally checked out, even if you’re doing it with a half smile and a bit of self-awareness. It ties into the album’s message: growing up clueless, making mistakes, and realising that not having it all figured out is fine.” That restless, vagabond anxiety simmers throughout the record. Hitting the sweet spot between the band’s anthemic core and driving rhythms which echo The War On Drugs or Tom Petty, the melancholic ‘Is This Real?’ faces the lightning bolt realisation of “being worn out by life’s pressures as they all become a bit too real.” And such stresses inevitably lead to the insomnia described in ‘Sandman’, with Max’s sleep-deprived lyricism complemented by its woozy, off-kilter contrast between its Slowdive-tinged shoegaze wall-of-guitars and its deceptively airy hook. Naturally, romantic affliction isn’t far away either, with the soaring ‘Fall In Love’ feeling like a modern take on the kind of alt-rock balladry that ruled the airwaves in the ‘90s. Yet for all its turmoil, ‘Elsewhere, Always’ is also a record eager to map a course towards a brighter future. Or as bassist India Armstrong adds, “I think the record has a lot of romance in terms of your longing and desire for something else: the next place you want to be or the next thing you want to do. There is hope that you can get to the place that you’re looking towards.” So when the album waves goodbye with the elegiac beauty of ‘Heaven’, it does so with nods to Jeff Buckley, Bert Bacharach and Jeff Lynne - and with the optimism that, perhaps, everything will somehow be alright. It’s a philosophy born from the universal reality of the post-teen life learning curve. As Max notes, “Ten of my mates feel exactly the same, but we’re all in different situations. Some have their own houses, some have a kid on the way, and I’m still living with my parents. We’re all at these weird different points, and we don’t know where we’re going. Once you leave university or school, the years go so fast and leave you feeling like you’re in a daze.” But overpass as a band know precisely where they’re going. Throughout ‘Elsewhere, Always’, their grassroots grittiness is scaled upwards into arena-reaching ambition. 2025 saw them sell-out two headline tours and power into big venues with The Wombats, Wunderhorse and Inhaler. Such opportunities, says India “are a chance to learn from their stagecraft, their performance and the way they interact with the crowd.” But more importantly she adds, “It’s very inspiring and motivating. Being on those stages solidified that it would be a dream if we could get to that level.” All of which inspired the blurred boundaries between their ecstatically received live shows and the new record. As Max asserts, “It’s so much fun for us to play songs which are really big and euphoric. There’s an unspoken energy in the room when there’s a crowd watching a band with those big choruses, and you can’t help but feel the connection between everyone in the room at that given moment.” Those future big room moments were crafted within the relative intimacy of Kempston Street Studios, Liverpool with producer Rich Turvey (Rachel Chinirouri, Blossoms, Jamie Webster) during six weeks of Monday to Friday sessions. Max credits Rich with helping to unlock the vision that they had for the record, as well as Spector’s Fred Macpherson, who helped them write two songs, the groove-heavy ‘Get Up!’ and the acoustic detour ‘Bonnie + Clyde, Pt.2’. The schedule allowed them to bring their new material to its full potential, whether that involved meticulously recording countless takes for ‘Heaven’ or having the freedom to completely rework ‘Spinning’, where hard work and a flash-of-inspiration reminded them of youthful wonder of first forming the band. As Max remembers, “That’s the main thing for us, the feeling you get when a song comes together and you give each other a look as if to say, wow!” This takes us neatly back to the roots of overpass. Max and India first met when they were 15-years-old and started playing music together. But things quickly evolved with fellow Birmingham guitarist Elliot Rawlings joining alongside Black Country drummer Jake Bishop. They’re a band with the classic trait of being stronger together than their individual components. Jake credits Max as being “very creative and a very good songwriter, he’s got this driving force which inspires us all to do the same.” Max returns the credit, praising Jake as “the backbone, like any great drummer” who’s blessed with a gift for making everyone laugh. Elliot’s guitar talents are matched by his organisational skills and eye for detail, while everyone agrees that India is the “brains of the operation” who helps ensure that everything from social media to style is on point. Despite starting with modest ambitions of simply playing some covers, they almost immediately formed a local buzz and sold-out the Sunflower Lounge, a gig that was cancelled due to lockdown. India: “That worked out for the best for us in a strange way because it gave us the time to practice and write on Zoom, and to take a second to think about the direction we wanted to go in before we started gigging.” That confidence grew when they reunited in person, albeit with the minor setback of India’s neighbour objecting to them rehearsing in her garage. “Everyone was itching to be in a gig environment because we had been denied that for so long. It helped bring our friends and family and people from the local community together who might not have previously been into gigs.” From there, affirms Jake, overpass went “from being a hobby to our sole focus really quickly.” The highlights came thick- and-fast, most notably a main stage set at Truck where the huge turnout wowed the entire band. The quality of their songs accelerated too: look at growth from their debut ‘One Night Lover’ to 2022’s ‘3AM’, and again from their first EP ‘From The Night’ to ‘Elsewhere, Always’. They’re defiantly proud of Birmingham’s musical heritage too - from Sabbath to The Streets - and credit the city’s multifaceted creativity, character, and sense of community as being vital to their rise so far. Not that there’s any standing still for overpass: a statement supported by the fact that every song on ‘Elsewhere, Always’ is brand new. “I want us to achieve longevity as a band,” asserts Jake, “and make sure that every time we do a new project it’s a step forward.” That’s how Max feels, too: “I want to make sure that if you’re a fan of us, you could be a fan for life.”

Columbo Music Presents Sol & The Gang Fresh from a sold-out UK run in Spring 2026, Sol & The Gang hit the road for a full national tour, alongside the release of brand-new original music. A high-energy journey through the decades — from Motown to present day — blending timeless RnB classics with premium production and tight musicianship. Founded by award-winning artist and choreographer J-Sol of The X Factor fame, the hand-picked supergroup unites some of the UK’s finest singers, musicians and dancers. Driven by J-Sol’s commanding vocals, slick choreography and undeniable star power, this is a genre-blurring live experience that’s impossible to stand still through.

Divergent promotions presents by arrangement with Atonal Agency Car Bomb Originally formed on Long Island, New York in 2000, Car Bomb is a band whose style is marked by a highly experimental and extremely aggressive approach to metal. Their unpredictable blend of evolving polyrhythms, shifting tempos, syncopated down-tuned guitars, jazz-influenced drumming, harmonically deconstructive riffing, and dynamic vocals create a sound that is pulverizingly heavy and intensely disorienting. They create music that is fluid and ever changing, and are not afraid of veering off on bold melodic tangents. This unique sound combined with a strong DIY work ethic and a continuously growing fan base has earned them the opportunity to tour with larger acts in the genre. Car Bomb released their debut album Centralia on Relapse Records in 2007, and supported the record on US tours with High on Fire in 2008 and Gojira in

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