Doors at 6:00 PM // Performance at 7:00 PM // All Ages
Bombay Bicycle Club are an English indie rock band from Crouch End, London, consisting of Jack Steadman (lead vocals, guitar and piano), Jamie MacColl (guitar), Suren de Saram (drums), and Ed Nash (bass). They are guitar-fronted and have experimented with different genres, including folk, electronica, world music and indie rock.
The band were given the opening slot on 2006's V Festival after winning a competition. They subsequently released two EPs and their debut single "Evening/Morning". Since then, the band has released four albums including So Long, See You Tomorrow which topped the album charts in February 2014. The band has toured worldwide as a headlining act, playing North America, Australia, Europe and Asia.
In January 2016, the four members announced that they would pursue solo projects. Ed Nash recorded music under the name Toothless, and released his debut album in early 2017. Frontman Jack Steadman, under the name Mr Jukes, released his debut album in 2017.
In January 2019, Bombay Bicycle Club announced their return to making new music and performing live after a three-year hiatus: "Since late last year we've been getting back into the swing of playing music together. More than anything it just felt great to be in the same room playing again. It made us realise what a good thing we have and has given us renewed energy and enthusiasm for the future".
“Growing up, people would always say I was too happy to be depressed, or too social to have anxiety,” says Liza Anne Odachowski, the critically acclaimed songwriter better known these days by her stage name Liza Anne. “In their eyes, because I was one thing, I couldn’t also be something else. I think we all exist in duality, though. I can be everything and nothing all at once.”
Duality is at the core of Liza Anne’s arresting new album, ‘Fine But Dying,’ her debut release for indie powerhouse label Arts & Crafts. Synthesizing the elegant sincerity of Angel Olsen with the wry lyricism of Courtney Barnett and the unapologetic candor of Feist, the music is both tough and vulnerable, bold and withdrawn, a helping hand and a middle finger. Firing on all cylinders with distorted alt-rock guitars and explosive drums one minute, hushed and delicate the next, it’s an eclectic collection that reflects the messy complications of growing up in the modern age, as the 23-year-old grapples with the fallout of falling in love, reckons with the patriarchy, and stares down the panic disorder she refuses to let define her. ‘Fine But Dying’ is the sound of an artist taking total control of her life and her art, a proud misfit crafting an aggressively infectious kiss-off to an industry (and a society) that’s tried to box her in from day one.