Small Black Arrows is the brainchild of musical creatives Jimmy Hanley and Luke Bailey. First introduced at Manchester’s thriving artistic venues, they soon became friends and frequent collaborators in various creative guises. As well as music, Luke is known for his work in film, tv and theatre, both as an actor - starring alongside the likes of Stormzy in dramas such as Noughts and Crosses - and screenwriter - his feature film debut is currently in post-production. As well as his own involvement in the film world - writing soundtrack’s and performing other roles - when Jimmy is not co-conspiring on SBA, he is busy collecting musical accolades, notably a platinum disk for his contribution to Smolik / Kev Fox’s critically acclaimed album. 
Although the duo find inspiration in multiple disciplines, SBAs’ sound is passionately forged through a DIY, dedication to their craft; a product of their urban, working class, roots: 'I’ve always been galvanised by restriction’ considers Luke, ‘It’s a feature of people with our background. Some of my earliest memories are me and my mates using Tipp-Ex, or whatever we could nick from class to redesign our trainers, trying to make them look like a brand. Pretty ridiculous looking back. But even then we were learning to use what was at our disposal to express ourselves’. It’s unsurprising then, that recent global limitations were the catalyst for SBAs formation, as Jimmy explains: ‘I think we’re both intrigued by the classic pop template if you will, and it was weird, we sort of came to each other with a proposal. Without orchestra’s, choirs, session musicians to fall back on, can we navigate everything closing around us and still manifest something that stands up?’ So SBA aim to push all the right buttons sonically, relying on themselves, using found sounds and alternative instrumentation to question traditional arrangements. 
In combining their eclectic influences - everything from folk to trip-hop, RnB to rock - SBA create a considered, experimental-pop, full of atmosphere and soul. The lyrics betray an obvious fondness for their upbringing. Even in more critical moments, when discussing cultures role in mental illness or how ‘othering’ in communities can eroding your sense of self, the tone remains contemplative as opposed to accusatory. This sentimentality is mirrored in the reflective arrangements, manifesting in music that is ultimately affectionate toward the streets that provided the awkward thrill of first love.