Review

By Emily Strout | 07/06/2026

Overpass has been killing it in recent memory, spending a busy few years touring relentlessly in support of other indie favourites like Wunderhorse, The Royston Club, and The Wombats. Despite often filling the opener slot, however, these shows often feel like double-headlines, with packed crowds that have arrived early to sing back every word to the lead singer Max Newbold. At their own shows, the energy is even more electric. Clearly, Overpass is itching to rise: and with this debut album, they’ve shown they’re ready for what comes next. Newbold, joined by bassist Indie Armstrong, guitarist Elliot Rawlings, and drummer Jake Bishop, together form Overpass, a group of bright-eyed youngsters hailing from Birmingham. With two strong EPs under their belt (2024’s From the Night and 2025’s Dependent), anyone who knew them was certain that the 2026 release of Elsewhere, Always was destined to be a hit. I had the pleasure of listening to the album, played live acoustic and in full, a few weeks early when the group took the album on the road to various record stores across the UK. My impression then, to no surprise, was that this would be an excellent album. This opinion was solidified with the official release: 10 songs with 34 minutes of incredibly consistent indie rock-pop goodness. Newbold’s vocals are clear and steady throughout the songs, and the instruments are loud and catchy. Overpass has always been reliable for their ability to produce anthemic belters—just listen to lead single “Union Station,” and the unskippable tracks that follow. The theme that runs through the songs seems to be youth and coming of age. “I can feel the weight of the world on my shoulders” Newbold sings in “Is This Real?”, alongside lyrics such as “New age, 21 years of only mistakes” in “Union Station.” “Sandman” fits into this idea, too. Accompanying the blurred concept images throughout the album’s branding, Elsewhere, Always seems to comfort the chaotic reality of growing up, meeting the world, and falling in love. Of the love-themed songs, my favourite from the acoustic sessions was “Forever, You”, and I was pleased to find out that the studio version was just as foot-tapping as the live one (I especially enjoy the guitar parts at the chorus, with its bright tone). “Fall in Love” was pleasant, although falls a bit under the radar on an album so stuffed with good songs. There’s also “Bonnie & Clyde Pt. 2”, which is a quieter style for Overpass, but works well; the tender acoustic really allows Newbold’s voice and lyrics to shine, without the wall of electric guitar that is typical for the band. The biggest surprise of the album for me, however, had to be “Get Up!”. While it has the sound of a classic Overpass song, Newbold’s vocals have been slightly modulated and the whole thing has an atmosphere that feels like the album’s core theme: disorienting youth. “Get up, now, now” he sings amidst swirling guitars. It’s insanely catchy. I foresee this album being a favourite amongst the UK indie community for years to come (it has certainly already cemented a permanent place on my own Spotify). As Overpass climb to bigger and bigger venues in their live shows, I highly recommend checking them out while you can, and Elsewhere, Always is the perfect place to start.