{"id":60,"date":"2025-02-27T23:00:00","date_gmt":"2025-02-28T04:00:00","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2025-2-27-sam-fender-heads-home-on-people-watching\/"},"modified":"2025-02-27T23:00:00","modified_gmt":"2025-02-28T04:00:00","slug":"2025-2-27-sam-fender-heads-home-on-people-watching","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2025-2-27-sam-fender-heads-home-on-people-watching\/","title":{"rendered":"Sam Fender Heads Home on “People Watching”"},"content":{"rendered":"
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Graphic by Maddie Cohen<\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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by Charlie Desjardins<\/h1>\n

I first heard Sam Fender in 2022 after the release of his second album Seventeen Going Under (2021)<\/em>. I was sitting in a car. It was raining. I was waiting for my dad to finish getting a haircut. I listened to the full album in awe. <\/p>\n

Then it hit me. This dude sorta sounds like Bruce Springsteen.<\/em> That comparison sounds obvious now\u2014every music critic and their mother has coined him the \u201cGeordie Springsteen\u201d\u2014but at the time it was utterly remarkable. The Boss has always been my favorite artist, and I\u2019d never heard such a worthy successor. I still haven\u2019t. Both artists write small-town poetry, have an obsession with the working man, love good rock-and-roll sax sounds, and tend to howl their asses off.<\/p>\n

Therefore, with Fender\u2019s long-awaited third album People Watching<\/em>, I had it in mind that I\u2019d be hearing something parallel to Darkness on the Edge of Town<\/em>. It would be a jagged step forward in a career full of Born to Run<\/em>-esque daydreaming, and with The War on Drugs\u2019 Adam Granduciel handling production, it would sound huge. <\/p>\n

Against all odds, People Watching<\/em> goes in the total opposite direction. Instead of digging deeper into Springsteen\u2019s beaten-up scrapbook, Sam Fender has set about creating his own tribute with family photos and glue. The result is bright rock-and-roll with a newly sophisticated backbone, and it\u2019s pretty damn great. The North Shields-born singer has matured into a storyteller of rare wisdom and integrity over his three-year hiatus, and he\u2019d like to reintroduce himself by reintroducing the UK of his youth. People Watching<\/em> is an album of painfully average losers, addicts, and widows, and even if that focus occasionally constricts, it never becomes preachy. Following a couple of listens, it\u2019s clear Fender has told some of his best tales yet.<\/p>\n

\u201cNostalgia\u2019s Lie,\u201d the album\u2019s second track, is one of the finest in the Fender songbook\u2014a melancholic reexamining of childhood comforts that sounds like the prodigal son of The Killers and The La\u2019s. It\u2019s the sort of gentle, brilliant rocker the Brit has touched on before (see: Hypersonic Missiles<\/em> standout \u201cWill We Talk?\u201d), but this time, with a country-flavored soul, Fender\u2019s crooning goes over like vanilla ice cream for the soul. That same reliable warmth is found in \u201cArm\u2019s Length,\u201d a stripped-down groover with plucky guitar work and harmonica, and \u201cSomething Heavy,\u201d a hangdog pub anthem about young people finding connection through their mutual fucked-up-ness. <\/p>\n

Fender has always been an unquestionable master of the cathartic, mid-tempo rock song, and People Watching<\/em> finds him in overdrive. Granted, sometimes that wealth can feel crushing. For every \u201cCrumbling Empire,\u201d a wailing Toto pastiche that explores Thatcher-era privatization, there\u2019s generic fluff on string-drenched \u201cChin Up\u201d and \u201cWild Long Lie.\u201d These two songs aren\u2019t horrible, and the lyrics on \u201cWild Long Lie\u201d are passingly clever in their exploration of addiction and disillusionment, but they largely sound like Sam Fender on autopilot. <\/p>\n

I find myself lobbying that same complaint against People Watching\u2019s<\/em> opening (and title) track, a song about homecoming, death, and treadmills. Ironically, it runs in place a little too long. Many have compared it to Fender\u2019s similarly autobiographical \u201cSeventeen Going Under,\u201d and if the singer were still in that younger, poppier phase I\u2019d happily accept it as a supplement. As he is now, I have a hard time believing the song\u2019s strength as a centerpiece, and I have an even harder time accepting its sterile guitar sound. It sounds like a mere skimming of the star\u2019s best works\u2014a largely inoffensive one, but dull nevertheless.<\/p>\n

\u201cI people-watch on the way back home \/ Envious of the glimmer of hope\u2026\u201d<\/p>\n

Thankfully Fender is too smart to serve the same meal eleven times, and People Watching\u2019s<\/em> adventurous detours are where the album truly strikes gold. One of these numbers, \u201cTV Dinner,\u201d is a sullen spitfire anchored by a clobbering doomsday drum shuffle. I\u2019m not sure if I\u2019ve ever heard him so angry. It\u2019s an unflinching portrait of the UK music industry that swallowed Amy Winehouse whole, and Fender\u2019s desperate pleading for solitary confinement makes the song a brutal highlight.<\/p>\n

\u201cIt was wild,\u201d Fender recently told The Sunday Times. \u201cI wrote [\u201cTV Dinner\u201d], then Liam Payne<\/a> died<\/a>\u2026 I remember watching some videos he was in and being, like, \u2018God, what a tit.\u2019 But the reality was that he was just a young lad, famous far too young, who had addiction trouble \u2013 and everyone hit him with the pitchforks.\u201d<\/p>\n

This successful experimentation continues on the album\u2019s final track \u201cRemember My Name,\u201d a horn-drenched message from his grandfather to his dying grandmother. All signs point to it slipping into syrupy sentimentality, yet Fender\u2019s belting somehow pierces the heart. The secret is a misty-eyed sense of late-stage optimism. <\/p>\n

\u201cI’m not sure of what awaits \/ Wasn’t a fan of Saint Peter and his gates \/ But, by God, I pray \/ That I’ll see you in some way\u2026\u201d<\/p>\n

It\u2019s a complete stunner, calling to mind the ache of Seventeen\u2019s<\/em> piano-drenched closer \u201cThe Dying Light\u201d but fusing it with Suede\u2019s glam-grandiose \u201cStill Life.\u201d <\/p>\n

It brought me to tears. I never knew Sam Fender had it in him. <\/p>\n

People Watching<\/em> is the definition of an emotionally excellent rock-and-roll album, especially by 2025 standards. Not many young guns are interested in exploring the heartland that Springsteen mapped out in the \u201870s and \u201880s. Heck, neither is Sam Fender. His roads are equally full of rubble, but unlike his car-obsessed New Jersey ancestor, Fender makes music for those who walk the last half-mile (and then retire into bars for the night). That journey might be a little too samey for its own good, but its purity hits in decidedly sparkly ways.<\/p>\n

\u201cI\u2019m not preaching, I\u2019m just talking,\u201d Fender sings on \u201cCrumbling Empire.\u201d <\/p>\n

I hope he keeps talking. People Watching<\/em> is music for dreamers who wake up in cold sweats. <\/p>\n

You should always listen to the full album, but if you\u2019re running late for a meeting (or a burial), check out these three: \u201cNostalgia\u2019s Lie,\u201d \u201cTV Dinner,\u201d and \u201cArm\u2019s Length.\u201d<\/em><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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