It’s been a remarkable few years for Kacey Underwood and Alice Costelloe, the London-based duo better known as Big Deal. After meeting in 2010 when Kacey taught Alice some songs on guitar, the twists and turns of their on-going relationship has been documented via their catalogue of intense rock-pop songs. “Our relationship has always given us plenty of inspiration to write music.” Costelloe says.

Having received widespread acclaim for their first two albums, 2011’s ‘Lights Out’ and 2013’s ‘June Gloom’, the band were invited to join Depeche Mode on tour. “Something clicked for us during that time,” they explain. “Touring with them made us realise we had been hiding when we should be stepping in to the light.” This realisation resulted in the band adopting a stronger, bolder attitude to making music.

Released via FatCat Records, ‘Say Yes’, the band’s third studio album, began as an entirely self-funded project. “We had to borrow money to get the album made—it was very risky,” explains Costelloe.

‘Say Yes’ is arguably the most open and emotionally provocative of all their works, “We’ve always been pretty private about our relationship within the band, but feel more comfortable talking about it for this record, as it’s pivotal in the placement of our career.” they explain. “It’s about taking all kinds of heartbreak and defeat, and just looking at it dead in the eye and going for it.”

In many ways, ‘Say Yes’ can be seen as the final chapter of the band’s first instalment. “The first one [album] was about not being together, the second one about being together, the third is about breaking up and trying to make sense of it all,” Costelloe explains, frankly. “The three albums in effect make one enormous concept record.”

The band have received critical acclaim for their album output, airplay from 6 Music amongst others, toured with Depeche Mode and performed at various festivals including Love Box and Secret Garden Party. We look forward to Big Deal showcasing tracks off their latest album at AYL.

"lovelorn melodies and grunge riffs that were refreshingly rough around the edges"
The Line of Best Fit
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