REVIEW: Big Special at Stylus
Big Special are a classic example that you shouldn’t let size fool you.
Despite being comprised of just vocalist Joe Hicklin and drummer Callum Moloney, the black country two-piece produces a sound bigger and more special than you could imagine. It goes without saying that, for a primarily spoken word band, this is a remarkably impressive feat, and they are in no doubt helped by their huge choruses, sang back to them at full intensity by a devoted crowd.
The night begins with another duo, coming off the back of a debut album, Good Health Good Wealth. Looking like a 90s Damon Albarn (orange-tinted glasses and all), vocalist Bruce Breakey delivered a great performance, not letting a broken collarbone get in the way. Guitarist Simon Kuzmickas delivers fun and funky riffs, culminating in a brilliant warm-up that gets the crowd going.
Next up is a Birmingham-based band, coming off the success of their debut album as well, Gans, who take to the stage announcing their praise to Big Special and their support in helping them grow. Bringing with them on this tour for the first time a new member, a saxophonist; it is a welcome addition to their sound, especially on songs like ‘NIGHTWALKING’. Despite this, the flute solo delivered early in their set, although atmospheric, sounds out of place amongst the incredible noise they bring. With their punchy, commercial rock sound, GANS are on their way up and are most definitely ones to watch.
The moment arrives, and Big Special come on stage, sauntering with a swagger in contrast to the dramatic score playing on the speaker. The sound is immediately cut with the noise of some airhorns, and the tone for the night is set. Big Special, with their meaningful poetry and heartfelt lyrics, may come across as a serious band, but they aren’t afraid of having fun. They open with a first song off their debut album, BLACK COUNTRY GOTHIC. Vocalist Joe Hicklin delivers his performance with a punch, spitting his lyrics with a serious enthusiasm. Less than two years from their first performance, they are a band who are visibly comfortable on stage, Hicklin goose-stepping it during the instrumental breaks in the songs.
The dynamic of the band is a curious one, as despite Hicklin’s comfort on stage, it is drummer Callum Moloney who takes charge of the audience. Crowd participation is a big part of their show, almost like a pantomime. They even have villains in their show, encouraging the crowd to boo at their manager, who “gets paid per song they play”, a fun segue into ‘YES BOSS’, a song off their newest album NATIONAL AVERAGE, which they are touring to support.
The speed of the show slows down in the middle, as Hicklin gets a guitar out and plays their newest single, ‘Sluglife’. Unfortunately, the band are unable to do this song the justice it deserves, sounding offbeat and sonically muddled. Thankfully, this lull does not affect the quality of their show, as straight after they deliver another new tune, dedicated to a friend who recently died of cancer. ‘Dragged Up a Hill (and thrown down the other side)’, just like ‘Sluglife’, is a song that is a deviation from their other works. The meaningful lyricism remains at the forefront, and the quality of this does not subside, yet the delivery is far more lyrical. The room goes quiet as the show reaches its emotional climax. They let this sit for maybe five seconds before cutting it with the sound of airhorns.
For Big Special, their profound lyricism and grand choruses are the selling point, so it’s a treat to hear Hicklin address this in the show. Not just sticking to the musical, he delivers two poems throughout the show, with ‘MONGREL’ and ‘FOR THE BIRDS’.
The show reaches its point towards the “end” (put into quotation marks by Moloney, knowing full well they will come out for an encore), where they do what all punk bands do, and address their convictions, slamming the Reform party and Nigel Farage, and calling for a free Palestine. It’s moments like this at punk gigs that I really question whether the audience understands the messaging behind the music they consume, as those at the back start booing.
They ended their set with ‘SHITHOUSE’, one of their most successful songs, featuring in an episode of Black Mirror, before leaving the stage only to come back at a moment’s notice with a riveting performance of TREES. This performance sees Hicklin enter the crowd with a symbol, banging it as intensely as his singing, the ferocity of which really captures the vibe of the intense crowd surrounding him.
The show finishes with a momentous performance of their debut album’s closer, ‘Dig!’ a tune that seems far too grand for a two-piece to pull off. For Big Special, however, ‘Dig!’, is a song that encapsulates them. Larger than life choruses, split up between intense, gritty lyricism, delivered with a ferocity that makes the 1000 capacity venue feel like a stadium.
In total, the night was a captivating carousel of small acts capable of creating sounds much larger than one could imagine. Bringing a serious intensity with their music, diluted with humorous interludes and tension breaking, Big Special successfully cement themselves as a must-see act of the decade.
Words: Tom Ford
