What does the Interstate 70 viaduct next to the Denver Coliseum bring to mind? Maybe a column of brake lights. Or the smell of the Stock Show.

But this week, those might be replaced by memories of pounding rhythms, screaming guitar solos and a chorus of thousands.

On Tuesday, Turnstile, the Baltimore band with hardcore roots — but an expansive sonic palette — will christen “Project 70,” a new venue from concert giant AEG Presents that sits directly below Interstate 70, east of the I-25 interchange, between the Coliseum and the National Western Complex arena.

At some point, the average Denver motorists has probably missed an entrance to I-70 and ended up snaking through this concrete colonnade.

The stage will be tucked directly beneath the bridge, backed into a corner of the sprawling site, a repurposed industrial zone bordered by train tracks and the Coliseum buildings.

This dramatic setting will provide a backdrop as distinctive as Turnstile’s sound, with vaulted concrete beams overhead and the rumble of traffic above, though proper sound production should ensure the music dominates.

The venue holds between 5,000 and 10,000 fans, with bespoke staging and built-in protection from Denver’s often unpredictable weather. The Turnstile show is expected to draw somewhere in the middle of that range.

Project 70 mirrors other pop-up experiments in New York, Los Angeles and Chicago, where overlooked industrial areas have been transformed into cultural spaces.

“Fans are super receptive to new locations and experiences,” said Franz Hilberath of MP3 PR, the promotion company working the show. “The aim isn’t to replace Red Rocks or Mission Ballroom, but to push beyond them.”

Turnstile has been making music for more than a decade, evolving from hardcore roots into a boundary-blurring sound that’s all their own. Each album has incorporated new influences. Their 2021 album “Glow On” cracked the code, fusing the band’s native-tongue hardcore with moments of synth-pop glimmer and reverb-laden guitars. And the band’s newest release, “Never Enough,” released in June, has been called one of the year’s best heavy records — an elastic fusion of 80s arena rock textures, 90s riff-driven crunch and emo undercurrents.

The new album was released along with with a full-length concept film that pays visual homage to band films from The Beatles, Jimi Hendrix and The Rolling Stones.

As band members expanded their palette, their fanbase has swelled, with the tour extending to Europe, Australia and South America in the coming months.

The band’s shows have a feral reputation. Footage from a free Baltimore show in May, which drew thousands to a park adjacent to Johns Hopkins University, foreshadowed the energy of their summer tour: pint-sized kids diving headlong into crowds, a sea of surging fans and sing-along anthems like “T.L.C. (TURNSTILE LOVE CONNECTION)” exploding in unison. In June they played under Brooklyn’s K Bridge, turning a raw stretch of Newtown Creek into a rager. That affinity for unconventional spaces is one reason AEG wanted the band to open Project 70.

“They’re having a massive moment,” Hilberath said. “Both the band and promoters are bought into the idea of launching something new here.”

Naturally, Turnstile’s blossoming has sparked pushback from some hardcore purists who say they’ve sold out. Exhibit A: a Taco Bell ad featuring Tony Hawk skating alongside the band’s music — another icon of the counterculture colliding with mass-market branding. Some critics have dismissed the lyrics as simplistic, teenage diary entries.

Fans hear something more in: up-to-interpretation lyrical fragments that leave space for listeners to project their own meaning. “Never Enough” wrestles with themes of abandonment, connection and searing angst. Its sparseness is part of the appeal. And the numbers don’t lie. In just the first four months since its release, tracks on the new album have racked up tens of millions of streams.

That balance-point between underground authenticity and mainstream reach is exactly where Turnstile sits in 2025.

And Project 70’s debut is meant to cement Denver’s status as a national music hub. Compared to Mission Ballroom’s intimate 3,900 capacity, the new venue more than doubles the scale, topping out at 10,000.

With venues like Red Rocks and Empower Field, Denver is a kind of “Super Bowl” for touring bands, Hilberath said, and Turnstile — a band sliding past boundaries while at the edge of mainstream breakthrough — is a fitting choice to show its potential. If all goes right, Tuesday could be remembered as both a turning point for the band and the launch of a new chapter in the city’s music scene.

The Denver show lands near the end of Turnstile’s Never Enough U.S. tour, with international dates through the winter.

The show’s bill is stacked: Mannequin P***y, Speed and Jane Remover open the show. And it won’t be the last chance to check out Project 70. Chase & Status, the U.K. electronic duo, headline there Oct. 4.

Future shows: Chase & Status (Oct. 4).

Date/Time: Tuesday, Sept. 30. Doors open at 7 p.m.

Location: Under I-70, east of I-25, between the Coliseum and National Western Complex.

Capacity: 5,000–10,000

Parking: First come, first serve: Coliseum lots ($20); ride-share pickup zones designated.