Polydor Records
After over three years of silence, British rocker Sam Fender released his anticipated third studio album, “People Watching,” on Feb. 21. Fender, now 30, has maintained his indie musical style on the album while harkening back to his trauma-filled past that has molded him. Whether it’s political, spiritual or personal, Fender doesn’t hold back on sharing his feelings on any of the 11 tracks.
The first track on the album “People Watching,” gets going with an upbeat guitar riff and happier tone than expected to chronicle the subject matter of death. That tone shifts as he reminisces about a mother-like figure in his life — since his biological mother left him when he was 8 years old. Fender observes the flaws in the healthcare systems around his mother figure that led her to this point and in verse two, Fender sings “The place was fallin’ to bits / Understaffed and overruled by callous hands.” These lyrics act as Fender’s criticism of the British health system, which has struggled with budget cuts and Fender shows it through the description of her hospital room. Fender continues “But it wasn’t hard when you love someone / Oh, I stayed all night ‘till you left this life, cause that’s just love.” The emotion of Fender’s connection to this person can be felt in his fast-paced vocal style, reflecting his emotions as he sees people of his life leave without a warning.
The second track, “Nostalgia’s Lie,” leans even further into Fender’s past because he ponders if his memory is accurate. Fender sings at the end of the chorus, “Spinning and laughing / Was it ever what I thought it truly was?” With a casual acoustic guitar backing Fender throughout his thoughts, he wonders if the good times were actually as good as he remembers. Fender’s vocals play from high to low, bouncing off the constant guitar to create a pleasant mix of simple sounds. The bridge sees the guitar increase tempo and Fender seemingly accepts his future and moves toward what he wants in his life.
“Wild Long Lie” dives into Fender’s hometown of North Shields, England and how he fights with the mixed emotions that come with returning. Fender sings in the second verse, “It’s that time of the year again when your past comes home / And everybody I’ve ever known wants it large.” Fender is getting to the point where he realizes these long party nights are not good for him or his friends. The constant callbacks to Fender’s past and how it affects his current life persist throughout the album. An electric guitar skillfully performs the instrumental break and after the last chorus a saxophone blares and takes the listener away from the six-minute track.
During the song “Crumbling Empire,” Fender shows dismay caused by poverty felt both in the U.S. and the UK. The vocal-heavy track opens with Fender singing, “Following suit in the Atlantic mirror / Under the Byker Bridge, they shiver.” After touching on the run-down infrastructure of Detroit, Fender likens the United States’ shortcomings to the Byker Bridge House, a place near North Shields that shelters unhoused people.
Fender gets across a sense of emotional despair with a rattled voice and simplistic guitar rhythm that skillfully takes the listener throughout. The lyrics are full of meaning as you can hear Fender battle through the reality of the modern Western world.
The following track, “Little Bit Closer,” gets into Fender’s experience with LGBTQ+ friends and begins with a much louder, grungier feel of guitar play and vocals. In verse two, Fender sings, “Oh, I have friends who were cast aside / A young, meek lad with a curious mind / Just terrified of what the church would have to say.” While Fender doesn’t believe in the God that the church speaks of, he sees something higher in the love that they are trying to strike down. Fender raises his voice and extends the end note in both the chorus and outro, adding a punch to the end of each line. The drums also act as a subtle build-up that makes the chorus hit harder when it comes up. All these elements combine to express the beauty Fender sees in his friends that so many institutions try to take down.
The closing track, “Remember My Name,” is a vocally excellent and soft tribute to Fender’s late grandmother. The track feels different from the rest of the album as it sounds like an immaculate gospel piece rather than an indie rock song. The long notes at the end of each line are excellently executed by Fender, whose passion for this tribute comes out in spades. The orchestral backing at the end of the song feels big and the booming sound is perfectly mixed. Fender, even in his doubt of God, pleads in his soaring vocals that he can someday see her again.
“People Watching” continues Fender’s delicate handling of his past as seen in “Hypersonic Missiles” and “Seventeen Going Under,” while including touching tributes to loved ones. The focus on Fender’s pure vocals as opposed to over-produced sounds makes the emotion feel raw and the variation of instruments from track to track make each song stick out. Fender’s unique ability to tell his own story with a mix of simple and intricate instrumentation makes the album reflect on the shared experiences we have in this sometimes grim world.