Sam Fender’s Big Leap: From North Shields to Stardom & the New Album That’s Got Everyone Talking
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Sam Fender’s rise to fame has been the stuff of indie-rock dreams—mad, fast, and at times, overwhelming. But as he puts it, “it’s what I signed up for.” Now, with his third album, People Watching, about to hit the airwaves, he’s opening up about the wild ride, the struggles along the way, and the deeply personal experiences that have shaped his latest music.
From the Banks of the Tyne to Festival Headlines
Rewind a few years, and Fender was just a Geordie lad writing songs about his hometown, growing up in a world of working-class struggles, and looking up to his ultimate hero, Bruce Springsteen. Fast forward, and he’s commanding crowds at Glastonbury, selling out stadiums, and carrying the weighty title of “voice of a generation.” No pressure, right?
His last album, Seventeen Going Under, catapulted him into the big leagues. It was raw, emotional, and packed with the kind of anthems that festival crowds belt out at sunset. But the relentless pace of fame took its toll. In 2022, Fender had to cancel part of his US tour to focus on his mental health. Since then, he’s been treading carefully—balancing major gigs with much-needed breathing space.
People Watching: A Nostalgic Love Letter or a Misstep?
Fender’s latest album, People Watching, is a deep dive into love, loss, addiction, and self-reflection. The title track, inspired by the passing of his beloved mentor Annie Orwin, kicks things off with a soaring, synth-rock sound. But here’s where opinions split—some fans are all in on its dreamy, Americana-tinged production, while others feel it’s drowned in a glossy haze.
Why? Well, this time, Fender’s teamed up with Adam Granduciel from The War On Drugs, a producer known for crafting hazy, nostalgia-soaked soundscapes. While Fender has always drawn comparisons to The Boss, People Watching leans even further into the heartland rock aesthetic, with echoes of The Waterboys, Bryan Adams, and even The Killers (on a slow day). For some, it’s a bold evolution; for others, it’s missing that raw, punch-in-the-gut energy that made Seventeen Going Under so powerful.
The Standouts & The Snoozers
Let’s be real—there are moments where People Watching absolutely shines. “Rein Me In” crackles with messy, drunken breakup energy, “TV Dinner” brings in a trippy, synth-driven edge that feels like a fresh direction, and “Remember My Name” is a poignant, brass-backed tribute to his late grandparents that will hit you right in the feels.
But some tracks? A bit plodding. “Nostalgia’s Lie” leans too far into soft-focus folk-rock, and “Chin Up,” a song about drug addiction, feels like “Wonderwall” in need of a wake-up call.
What’s Next for Fender?
Even with the mixed response to the album’s production, one thing is clear—Fender’s still one of the UK’s most important songwriters. Whether he’s belting out anthems at a festival or stripping it back for a heartfelt ballad, he’s got that rare ability to make you feel something real. And in an era where indie-rock is sometimes accused of playing it safe, that’s no small thing.
So, will People Watching be the defining album of his career? Maybe, maybe not. But love it or not, Sam Fender isn’t going anywhere. And if we know one thing, it’s that the next time he steps on stage, thousands of fans will be right there, singing every word back to him.
