In 2021, Sam Fender shared “Seventeen Going Under,” the title track of his then-upcoming sophomore LP, a tale of youthful anger, sadness, longing, and a British society in disarray. That's how he saw it from his upbringing in the Newcastle area, but resonated with listeners across the islands and beyond, clocking up almost 250 million streams on Spotify.
His latest single 'People Watching', released in November, is something of a sequel, equally burdened by loss of innocence, mortality and social alienation. The song was written in response to the death of a close family friend and mentor, an influential voice in his life on his musical journey. It recently reached No. 4 on the UK Singles Chart, his highest ever.
“People Watching” is the centerpiece of his next phase. Not only is it the lead single from his upcoming third album, it's the title track and the name of the sold-out tour that makes its way through UK and Irish arenas this December, including two stops at London's O2 Arena , before finishing in his hometown of Newcastle just before Christmas.
It may seem like a bit of odd timing, given that the People watching The LP is due to drop in late February, and much of Tuesday night's (December 10) show featured new material and deep cuts. But Fender's presence demands respect and attention to be considered and listened to rather than belligerently (for which there were plenty of opportunities). But if the reaction to the aforementioned title track is anything to go by, there's a willingness from the crowd to get stuck into the ambition-raising new material created with his musical hero The War On Drugs. More than half a decade after his 2017 debut single 'Play God', he has earned the right and confidence to do things his own way.
These were the five best moments from yesterday's Fender show in the English capital.
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A commanding opener
Few would open an arena show with a song as heavy as “Dead Boys,” but Fender has always been unwavering in his need to discuss complex subject matter in his lyrics. With a 2019 debut Supersonic projectilesthe track rages at the scale of male suicide in northern communities: “We all fight the black dog/ Some loud and some in silence/ All 'round here just drink/ 'Cause that's our culture,” he sings. Later in the show, he refers to the same lost lads during the Springsteen-esque “Dying Light”, grimly noting that there are “more every year”. Fender is a songwriter who doesn't do things by halves, nor does he forget where he comes from.
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“I live by the river…”
Initially criticized by a small section of fans after the first night of the tour for its trim setlist (Dublin had only 15 songs, London had 17), the show blossomed in the final week as the band found their footing with new material after a relatively modest year on the live circuit. But the unpredictability gives the show something of a freewheeling approach, especially before the bigger pitches next summer. At The O2, a fan called Euan takes to the stage to play acoustic guitar on 'The Borders' while the band throw in a cover of The Clash's 'London Calling' mid-set, a fitting nod to the venue's location next door on the Thames. . After the intensity of the previous material in the set, this cover and “Howdon Aldi Death Queue” raised the energy.
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A film production
Much of the recent innovation in live performance has taken place in pop and hip-hop, but even for indie and rock concerts there is much to be done and new angles to consider. A fair chunk of Fender's tour budget has clearly gone towards improving the visuals and production value of the show, with the screen across the stage giving the show a cinematic feel. Whether it's grainy black-and-white clips interspersed with shockingly yellow lyrical cues (“People Watching”) or honoring paternal relationships by incorporating candid shots of his fans and their fathers (“Spit of You”), there's plenty to offer to keep the engagement – and show off by grabbing attention on social media feeds. Oh, and there were fireworks, confetti and all the usual trimmings, of course.
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A band you have to believe
Part of Fender's appeal is that despite his solo billing, there's a familiarity with his wider touring band. Fans at previous gigs will recognize the same motley crew from years past – like saxophonist Johnny “Blue Hat” Davis in his classic Newcastle United – and it feels like a gang of mates up there and the work of many hands. Fender's long-time friend Brooke Bentham appears on backing vocals and brings a new depth to the live set-up, notably on the unreleased track “Arm's Length”. It's a live band you have to believe, not the work of touring mercenaries.
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“Seventeen Going Under” retains its crown
There's a case to be made that 'Seventeen Going Under' is one of the most impressive songs from an indie artist of the 21st century, or from a UK act in general. Few acts would dare to make a song that touches on subjects as raw as this one – spiraling mental health, teenage delinquency and the dehumanization of people who claim relief from the Department for Work and Pensions – let alone make it so catchy that everyone in the 20,000 – The capacity of the venue could shout it out word for word. These are songs that matter and are felt deeply.
