People Watching Sam Fender

• 1 People Watching 05:04
• 2 Nostalgia's Lie 04:10
• 3 Chin Up 03:23
• 4 Wild Long Lie 06:04
• 5 Arm's Length 03:59
• 6 Crumbling Empire 05:07
• 7 Little Bit Closer 03:54
• 8 Rein Me In 05:39
• 9 TV Dinner 04:30
• 10 Something Heavy 03:35
• 11 Remember My Name 03:01
• Total Runtime 48:26

Info for People Watching

Sam Fender’s third studio album, People Watching, released via Polydor Records on 21st February 2025 was written over the last 3 years and recorded in London and L.A. The album was co-produced by Sam alongside Marcus Dravs and ‘The War On Drugs’ Adam Grancuciel.

"‘People Watching’ is a bleak but astonishing rumination on our current times, viewed through the lens of Sam’s whirlwind past few years - an album that undoubtedly firms up his position as one of the great songwriters of our time." (DIY Magazine)

"Every song on People Watching is carefully crafted to remain with the listener. The bittersweet lyrics intertwined with catchy heartland rock and seamless vocals make this album Fender’s best yet." (The Skinny)

"He's unafraid to risk sentimentality in his quest for real feeling. At the end of a vexed, troubled third album, it feels like a hard-earned affirmation of his roots, people and community he's still a part of and still committed to." (UNCUT)

"Since Sam Fender released his breakaway single ‘Hypersonic Missiles’ back in 2019, he’s largely cloaked the rest of the UK indie scene in his own shadow. Emerging at a time when white singer-songwriter males in their 20s flooded the charts, there’s always been one gift that’s made sure the Geordie has shined ahead of the other flock of sheep he appears to come from; he’s simply an incredible songwriter. Early singles like ‘Dead Boys’ and ‘Poundshop Kardashians’ showed a knack for shrewd commentary on the 21st century, and after adding the ‘woah-oh-oh’s’ to his arsenal while writing something anthemic, it was clear this talent wasn’t going away anytime soon. When adding his newest album to the discography, it makes an interesting listen to watch the evolution of his gifted songwriting.

Despite extreme highs, when Fender’s lyricism delves into political commentary it can often sway gently between both sides of clever and clunky. ‘White Privilege’ gave a platform for excellently written, blunt lyrics – describing an echo chamber of frustration we often find ourselves in while scrolling online – but ‘Aye’ spilled a million thoughts onto the page at once, attempting to say everything while managing to not really say anything at all. The truth is that Sam’s writing has often shined brightest when in a moment of introspection, never shying away from being honest or self-critical with his listeners. It gave moving moments like ‘Spit of You’ and ‘Seventeen Going Under’, the latter of which has gone on to become the number one indie anthem of the decade thus far. As he moved onward to his third project, it was natural for his reflective songwriting to shift from himself to those nearest and dearest to him, a technique his idol Springsteen often used.

The result is the appropriately titled ‘People Watching’, a continuing trend of both the album and lead single sharing the same name. The song typically feels larger than life, featuring a snappy guitar riff that seems to bounce off itself and a chorus that has magical production (thanks to the masterful Adam Granduciel of The War on Drugs). However, if you listen a little further past the radio-friendly refrain, it’s impressive what Fender’s managed to pack into the five minute runtime. Written about his late friend Annie Orwin (whom he described as a surrogate mother), each lyric passes to reveal more about the two’s relationship – “I came back home after seven years / Wide awake, tracing the tracks of her tears”. The track is one of his best songs to date; Sam’s ability to combine a cinematic sound with an intimate touch is perhaps his biggest quality.

Further releases came to show even more promise for the record ahead; ‘Wild Long Lie’ has a melody that’s beautifully haunting, and ‘Arm’s Length’ finds strength in its simplicity – a song that The Boss would be genuinely proud of. As for the rest of the album tracks, there is still plenty of fantastic music for diehard fans to gawk over and delve into, but there are times when Fender’s previous high standards he set for himself begin to stifle him. ‘Little Bit Closer’ begins explosively with a mean bassline and a ripping harmonica riff, but frustratingly never seems to go much further with the racket it initially promises. Similarly, ‘Something Heavy’ has Kurbain-esque opening chords, but the chorus that follows comes off as disappointingly common ground for Sam, a song that has already found its own way in more impressive, previous attempts. As stated already, though, fans don’t need to worry about a loss of touch; there’s simply too much quality here to not get excited about. Whether it be the Bryan Adams and Tom Petty inspired ‘Nostalgie’s Lie’, or stand-out ‘Crumbling Empire’, there will be fierce competition for places on future setlists. The latter sees Fender coming to terms with his successes, perhaps questioning whether he’s still the voice to bring working-class living to life – “I’m not preaching, I’m just talking / I don’t wear the shoes I used to walk in”. It’s dressed up with a palm-muted riff and a chorus that carries so much life to the midway point of the record. Further on, ‘Rein Me In’ has the most lavish instrumental on the album, featuring layered acoustic and keyboard playing that harmonize beautifully, while ‘TV Dinner’ sees a return to a political agenda, with droning synths that elevate the track to having a grandiose feel.

The most emotional effort of all though is left to the final track. ‘Remember My Name’, initially emerged from a video of Fender playing on an out-of-tune piano in a pub, and has since been transformed into an orchestral ballad that gives the best vocal performance ever heard from the Geordie. Written from the point of view of his passed grandfather caring for his wife who had dementia, the song has simplistic but painfully tender lyrics from start to finish – “I’ll tell your stories, kiss your face / And I pray you’ll remember my name”. It finally climaxes with Sam’s vocals reaching its emotive and performative limit, matched by the swelling of the brass band surrounding him; a goosebump finish.

With Glastonbury allegedly calling his name, Sam Fender has given them a third album packed with hits to make the headline slot his own. His followup to ‘Seventeen Going Under’ may sometimes have an overly passive pace, but it’s still littered with moments that feel urgent. If he does headline the world’s biggest festival this summer, there will be millions watching globally. It would be hard to argue that he hasn’t earned it. (Words by Niall McGreevy)

Sam Fender

Sam Fender
Melding urgent, melodic indie rock with the heart of a singer/songwriter and socially conscious lyrics, Newcastle native Sam Fender rose to British acclaim in late 2017 when he appeared on the coveted BBC Sound of 2018 list and was subsequently signed to Polydor Records. His first album, Hypersonic Missiles, arrived in 2019.

Born and raised in North Shields, just outside of Newcastle, Fender came from a musical family. After gigging locally, he was discovered by Ben Howard's manager, who helped pave the road for Fender's debut single, "Play God." Moody in tone and socially conscious, it was followed by two more singles, "Greasy Spoon" and "Millennial," before the BBC named Fender along with acts like Sigrid and Lewis Capaldi for their Sound of 2018 list. Tours with Hozier and Catfish and the Bottlemen followed, as did 2018 singles like "Leave Fast" and "That Sound," both of which later appeared on his EP Dead Boys, released by Polydor in November of that year.

At the beginning of 2019, Fender entered his own studio in his hometown of North Shields to record his debut album with friend and producer Bramwell Bronte. He won the Brit Awards' Critics' Choice honor and made his U.S. television debut on Jimmy Kimmel Live! before Interscope/Polydor issued the resulting Hypersonic Missiles in September of 2019. He followed with a second album, 2021's Seventeen Going Under, in short order, this time reflecting on his upbringing and coming of age in North Shields. (Timothy Monger, AMG)

This album contains no booklet.