Live Review: Overpass at The Wardrobe

It’s the end of term, you’re tired, I’m tired. I seek petty respite and escape from the shackles academic deadlines have thrust upon me. The grand return of the sun has proven to me that yearning works and for all intents and purposes I can manifest into existence whatever I wish. Whether that be a sunny day – or a press pass for a sold-out gig to see a favourite band of mine. Enter a late March trip to The Wardrobe to see Overpass touring their recently released sophomore EP Dependent (2025), the first since their signing to Communion Records in late 2024. 

I’ve talked about Overpass at length. I’ve spread prophecies of their future headline festival slots far and wide – to my housemates, The Gryphon readers, and absent-minded lost souls in the ‘Indie Thursday’ smoking area like some self-proclaimed modern day dark-fruits infused Aristotle. But I would be remiss if I did not gear up for one more hype man session akin to that of someone being paid for their services to promote a band.  

Overpass are a classic indie-rock outfit hailing from Birmingham. The four-piece specialise in guitar driven indie anthems that the quietest of crowds can sing along to and the stalest of crowds can jump to. How was it that Brandon Flowers put it? That glamorous indie rock n’ roll? That’s the general gist. When Overpass step onto a stage the crowds are rife with energy and the shoulders of fans are burdened, if not by others crashing into theirs, by their friend clambering atop them to sing the night away. And here I was, with a golden ticket to their sold-out headline show at The Wardrobe. 

In keeping with my assignments remaining unattended to, blissful ignorance is the day’s theme and my plain black tee and gleeful willingness to sprint past oncoming vehicles whilst running fashionably late capture that with such grace. Keo were set to open the show. The band’s non-existent streaming service presence stumped me. Who are these floppy haired men with ill-fitting clothing? Why are people chanting their (should be) unknown name? How are these same people singing along to songs presumably unheard to the world? Journalistic integrity would say I should find these answers and bring them to the people, but I am legitimately lost on the matter. The plot thickens and the theme of being unaware intensifies. 

Overpass greeted their clamoring crowd not long after. Punchy drumbeats and sleek guitar riffs immediately contaminated the air, and the room just transformed. The indie starlets bring a wonderful raw passion to their live sets that has ‘we are meant to being doing this’ plastered all over it. Whether that be frontman Max Newbold’s silky yet powerful lead vocals, guitarist Elliot Rawling’s scintillating licks and lead sections, bassist India Armstrong’s crafty basslines and gorgeous backing vocals or drummer Jake Bishop’s immaculate and tight beats, the band have talent in spades and the sonic result is nothing shy of superb. 

I took heed of the opening track ‘Be Good To Yourself’ and elected to remain out of the limb blender that is an indie gig mosh pit- my dear friend Adam made no such choice. He was lost to the pit and still is to this day (Adam if you are reading this, please let me know your torment is over). Song’s not much older than a year old had fans angling to out-sing and out-jump their pit positioned comrades, crowning the crowd an honorary fifth member of the band for the night as their passion provided depth and power to every track. The only exceptions to this were the two unreleased songs the group touted to their unruly fans, who will be rife with unrest until their release. Even on the heels of their biggest release – Overpass maintain a sharp focus on what is to come. 

Max Newbold’s vocals and lyricism have taken on a new life. Whilst always impressive, his recent showings both on tape and stage have been nothing shy of stellar. The all-black attire he attempted to shroud himself in did nothing but reflect the colour and content of his performance upon the audience. Freeing his falsetto on songs like ‘Dependent’ and ‘Alright’ depicted his vocal prowess to a tee. This, paired with the roaring riffs that grind against the walls of any good indie rock gig on songs such as ‘Take It or Leave It’ and ‘Otherside of Midnight’, exhibited Overpass’ ability to blend beauty and bravado with ease. 

Speaking of beauty, the band closed the set with fan favourite ‘Beautiful’ following a flurry of early release fan favourites such as ‘3AM’ and ‘Right Time’. Arms locked and voices ablaze, the crowd helped sing the night away as the band listened gratefully to their catchiest chorus being thrown back at them. I won’t deny there is something to be said for an artsy experimental post-punk set, or a contemporary jazz performance in an ill-lit backroom, but sometimes you just need to be in a bouncing basement stretching your vocal cords to near breaking point and stomping up and down on a sticky floor to the sounds of a Birmingham band’s indie anthems. Overpass’ promise is rapidly becoming prominent, their potential is becoming prowess, and their future is bright and beaming. 

Written by Dan Brown