Sam Fender, the North Shields singer-songwriter known for his raw depictions of working-class life, has clinched the 2025 Mercury Prize for his third studio album, People Watching. The announcement, made on October 16, 2025, at Newcastle’s Utilita Arena, marked a historic moment—not just for Fender, but for the Mercury Prize itself, which, for the first time since its inception in 1992, was held outside London. According to BBC, the hometown crowd erupted into cheers as Fender’s name was called, and the artist, visibly stunned, admitted, “I didn’t think that was going to happen at all. I’ve spent the last 10 minutes crying.”
Fender’s victory was hard-won, as he edged out a formidable shortlist that included past Mercury Prize winners Pulp and Wolf Alice, Irish pop star CMAT, Fontaines D.C., FKA twigs, PinkPantheress, Pa Salieu, and more. The Mercury Prize, established to honor the best British or Irish album of the year, is judged by a panel of music industry experts who focus on artistic achievement rather than commercial success. This year’s panel, chaired by Jeff Smith (head of music at BBC Radio 2 and 6Music), included respected broadcasters, musicians, and writers such as Sian Eleri, Jamie Cullum, Jamz Supernova, and Sophie Williams, among others, as reported by Billboard.
Judge Sian Eleri described People Watching as “a classic piece of work,” a sentiment echoed by the official statement from the panel. They praised the album for its “cohesion, character and ambition,” calling it “melody-rich and expansive, marrying heartland rock with the realities of everyday life and the importance of community.” The panel concluded, “It felt like a classic album, which will take pride of place in record collections for years to come.”
Fender, 31, is no stranger to Mercury Prize recognition. His previous album, Seventeen Going Under, was nominated in 2022, but this year’s win was particularly poignant. The title track of People Watching was inspired by his late mentor Annie Orwin, whom he described as “a surrogate mother in a lot of ways.” As he told the BBC, “I was honoured and lucky enough to be with her in the last week of her life, and the title track was about her and about grief. Then the rest of the album is very much local stories, little pictures of Shields, and the people I’ve grown up with. So, very much like every other album I’ve done, but I think we got it right this time.”
Released in February 2025, People Watching quickly rose to the top of the Official UK Albums Chart, selling 110,000 copies in its first week—making it the fastest-selling album by a British solo artist since Harry Styles’ Harry’s House in 2022, according to Billboard. The album’s success was buoyed by Fender’s reputation as a festival headliner and his three sold-out stadium shows at St James’ Park in Newcastle during the summer, which drew a staggering 150,000 fans.
Fender’s lyrics, often overtly political, dig deep into the struggles and spirit of northern England’s working class. Tracks like “Crumbling Empire” draw parallels between the post-industrial decline of Detroit and Fender’s own hometown, while “Rein Me In” explores the lingering ghosts of failed relationships. The Mercury Prize judges highlighted how the album “blends heartland rock with the realities of everyday life and the importance of community.”
On stage, Fender dedicated the award to Annie Orwin, and later, in his typical self-deprecating style, downplayed his reputation as a generational voice. “People bandy about those terms all the time, and it’s ridiculous,” he told the LA Times in May. “Saying that somebody’s the voice of a generation—I’m not, honestly. I’m an idiot. I’m just writing about my experiences and the experiences of people I know, and people attach such weight to it.”
The Mercury Prize’s relocation to Newcastle was more than symbolic. Jo Twist, chief executive of the BPI (which organizes the awards), explained, “Talent is everywhere but opportunity isn’t. So it’s only right that we bring these large scale shows (outside London) to show there are opportunities within the music industry without having to move city.” Fender acknowledged the significance, noting that Newcastle had “always been in an isolated bubble” from the music industry and expressing hope that this recognition would open doors for more regional talent.
The 2025 shortlist reflected the Prize’s ongoing commitment to musical diversity and innovation. Alongside People Watching, contenders included CMAT’s Euro-Country—a witty, sharp-edged album that tackled topics from body shaming to Ireland’s economic collapse—folk singer Martin Carthy, jazz artist Joe Webb, and pop star PinkPantheress, whose 20-minute mixtape Fancy That was the shortest ever Mercury Prize entrant. According to BBC, CMAT, the bookmakers’ favorite, joked before the ceremony that she’d “flip over a table” if she lost.
The Mercury Prize has a storied history of spotlighting albums that move music forward, regardless of commercial trends. Of its 34 past winners, 20 have been debut albums, with previous honorees including Arctic Monkeys, Suede, Franz Ferdinand, Arlo Parks, Little Simz, Ezra Collective, and the only two-time winner, PJ Harvey. Last year’s award went to English Teacher for This Could Be Texas, while Michael Kiwanuka, Arlo Parks, and Ezra Collective are among recent recipients.
Fender’s win comes with a £25,000 cash prize (about $33,400), but perhaps more valuable is the boost in exposure for an album already resonating with listeners across the UK. When asked how he planned to celebrate, Fender kept it simple: “I think we’re gonna go for a beer. And then I’ve got four weeks off.” His bandmates joked about a “pyjama party,” but for Fender, the night was about celebrating with his team and his city.
The Mercury Prize 2025 will be remembered not only for Fender’s emotional victory but for the way it spotlighted Newcastle’s vibrant music scene and the power of albums to tell stories that matter. As Elton John once said, “He’s a British rock ’n’ roll artist who’s the best rock ’n’ roll artist there is.” For now, Sam Fender’s People Watching stands as a testament to the enduring relevance of the album format and the voices—big and small—that shape British music.
