The Black Country duo Joe Hicklin and Callum Moloney are experts at dissecting the UK’s tumultuous times, expressing a political discontent and condemning elitist values. Although not a new discussion, particularly within a country that is undergoing an increasingly growing far-right agenda, the pair offer us a space that doesn’t give us the answers but simply expresses the anger of the seemingly out of control political landscape. Through their genre-defying amalgamation of poetic interludes, post-punk riffs and punching electronic underlays, Big Special find a unity that binds one another together – Thursday’s SWG3 appearance only making this clearer for myself and the crowd.
The stage only consisted of a drum kit and two mics between the pair of them; an additional sound board for Moloney that played the occasional air horn clip in between their sets. A large ‘BS’ sign sat in the background, but other than that, it was the duo’s set that made its impact that night.
“This is like a pantomime,” Hicklin jokes as the sold-out crowd cheers and boos along with his commentary on stage. It felt as though the crowd knew the duo personally, shouting back and forth in between songs and dancing under their command, Hicklin and Moloney encouraging this. An even better addition being the manager’s appearance on stage, the crowd booing him off as he jokingly pushes them to play more songs instead of chat – I say more booing at gigs. This was fun.
Their set kicked off with ‘BLACK COUNTRY GOTHIC’, the opening track of their critically acclaimed debut album POSTINDUSTRIAL HOMETOWN BLUES. The album encapsulates those ‘inside voices’ amidst a time of sheer anger in the UK political scene. Having been released on the cusp of the Tory’s dying days, this track spurs a particular angst in the crowd, an energy that never seemed to fade throughout the set.
As the show goes on, we are continuously taken through a journey of the discography’s highs and lows. When playing ‘BLACK DOG/WHITE HORSE’ – their most popular track although more melodic and soul-like when compared to others – a crowd member was pulled up on stage after simply shouting up at Hicklin. You don’t get if you don’t ask, I guess. I need to try this.
A tribute to their late friend was later made in the show; Hicklin reciting his lyrics to ‘FOR THE BIRDS’ as Moloney discloses cancer was the playing enemy here. A stillness was set throughout the venue, the lyrics echoing “Left my days outside for the birds/Everyone is searching beyond meaning/But not listening beyond words”. The crowd listened and understood.
After apologising for the sudden change of pace, the duo reeled the energy back, utilising their inherent power over the audience. Their song ‘TREES’ began to play, the crowd shouting back each lyric and sprawling out to make way for both Moloney and Hicklin who made their way into the middle of the crowd. A symbol was carried into the centre, the track built and the lyrics pounded. This was a moment for the duo to dance with their fans and listeners and, I guess, a reminder that they too don’t know the answers in a time of uncertainty and confusion. They are providing the outlet to express the confusion within the crowd.
Finishing the set was their ‘DiG!’, leaving the energy high and persistently showing the crowd their gratitude.
Big Special formed during the height of lockdown after having been friends since the age of 17. It was Hicklin himself that pushed the idea for the two to form, and with Moloney’s initial reluctance, I’m so glad that they did.
Within Glasgow, Big Special have built a community which collectively understands and feels each of their words and punchy tracks. From their poetical lyricism to punk-driven drums, and not to mention hilarious back chat with the crowd – they call for a band who know how to put on a show.
Turns out, Big Special are special.
Hi, I’m Jenna! I am currently in my third year studying English and journalism.