Sam Fender, the British singer-songwriter known for his powerful storytelling, has released his third album, People Watching, on February 21, 2025, and it's already making waves. Featuring the Easington Colliery Brass Band, this album has struck a chord, highlighting issues of poverty and addiction deeply rooted in the North East of England.
Fender's origins are instrumental to his artistry. Growing up in North Shields, he is acutely aware of the socio-economic struggles surrounding him. "My mam’s side of the family were all down the pits so I wanted to have a miners’ brass band on there,” Fender noted, which brings authenticity to his music. His choice to include the local miners' band isn't just about nostalgia; it’s about showcasing the working-class culture still prevalent today.
Reflecting on the historical impact of government policies, Fender tweeted back in 2021, addressing the fallout from Margaret Thatcher's era, stating, “the sheer penury she put these communities through” remains ever-present as these areas continue to grapple with economic devastation. This sentiment threads throughout his music, where he often sings about issues from poverty to mental health struggles. Songs like “Seventeen Going Under” grapple with the unappealing realities of youth pushed toward drug dealing, making them painfully relatable for many.
The grim realities of the North East serve as the backdrop for Fender's poignant lyrics. Dr. Robert McKenzie from Northumbria University found people often associate the regional accent with less intelligence, which Fender has confronted head-on. He recognizes the challenges of being from such a background, admitting, “A kid from where I’m from can’t afford to tour,” indicating the barriers young musicians face.
Beyond his personal struggles and experiences, these issues resonate across the North East—a region often neglected. “You don’t want anyone who’s actually talented or passionate about music to think they have to go somewhere else,” remarks Henry Carden, organizer of Middlesbrough’s Twisterella festival. This reality pushes many budding artists to relocate to cities with more financial support and opportunities, echoing the desperation captured in Fender’s tracks.
The narrative surrounding Fender's music often delves deeply year after year. On his debut EP, Dead Boys, themes of male mental health and suicide are front and center. The song “Leave Fast” addresses feelings of stagnation and the pressure to escape—a sentiment reflected within his own community. The lines, “Leave fast or stay forever,” resonate particularly with those stuck in the socio-economic struggles rife within the North East.
Now moving to his current album People Watching, Fender’s lyrical directness carries even more punch. The song “Crumbling Empire” employs metaphorical imagery to describe both personal and societal degradation, where he sings, “I don’t wear the shoes I used to walk in...” This line captures the alienation felt by many who have moved beyond their roots but still feel the weight of their past.
He is unabashedly honest about his growth and newfound privilege. “They reared me as a class clown / Grass-fed little cash cow / I cashed out, headed hellbound / And now they point and laugh,” he croons on the track “TV Dinner,” taking aim at the music industry’s tendencies to exploit and trivialize his upbringing. There is both pride and discomfort embedded within these lyrics, showing how personal success and broader community struggles can coexist.
The powerful narratives don’t stop with despair. Fender radiates resilience, demanding attention to the topic of male suicide and mental health. He openly addresses the inequalities, stating, “I’ve noticed my drug addict friends who are posh go to rehab, but my mates with issues up there just die.” This honesty suffuses every line he delivers, making it all the more impactful.
What sets Fender apart is not only his awareness of the socio-economic hardships plaguing his community but his continual confrontation of them through his music, striving to bring others along on this adventure of listening and awareness. He recognizes the unfulfilled potential among his peers when he states, “there are probably thousands writing songs... but they will not be seen because it’s rigged.”
Songs like “Aye” deliver not just his disdain for the wealthy elite but also capture the political confusion of his generation. The chorus rings out against tax dodgers and greedy billionaires, encapsulating feelings of frustration many share about the current socio-political climate and claiming, “I’m not a fucking anything—” underlines the identity crisis felt by numerous young working-class individuals.
Fender’s ability to weave personal anecdotes with wider social commentary situates his work within significant cultural discussions. He eloquently captures the malaise and vitality of the region, providing listeners with raw, real stories rather than glossed-over narratives. Through his craft, he shines brightly as both a voice and spokesperson for those grappling with the harsh realities of life.
His latest album, People Watching, has already made history, registering the biggest opening week for any album since Harry Styles’ Harry's House back in 2022. With tracks rich with emotion and clarity, he promises to challenge perceptions about class and music, elevates his hometown, and spark conversation about societal expectations and the lived experience of youth today.
Sam Fender continues to stand at the intersection of personal triumph, authentic storytelling, and social consciousness, aiming to enrich both the musical world and beyond. There's no doubt he feels the weight of his community on his shoulders, ensuring their stories are told—and never forgotten.