Squad Numbers

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Sam Fender took the music industry by storm in 2019 with his first album “Hypersonic Missiles” wowing the world with his Springsteen-esque tones, and quickly followed that up with “Seventeen Going Under”, just two years later. With his third album, Fender has taken a more considered approach, taking time off to focus on his mental health, and do things his way. The end result is a well rounded masterpiece, fans have been well and truly rewarded for their four years spent waiting for Fender’s next gift.

This album was always going to be defining for Fender, as he enters the dangerous point in his musical career where fame becomes a factor. Many artists falter under the spotlight, their music becomes unrelatable as they hum about their gained privilege, not Fender though, he has thrived on it. 

Whilst “Hypersonic Missiles” and “Seventeen Going Under” delve into Fender’s and perspective of life growing up in North Shields, Newcastle, “People Watching” takes a step into the unknown, as Fender talks about feeling disconnected from the small town he used to call home, he now lives in London. ‘Nostalgia’s Lie’ is a piece of art, the opening beats to the song feel like something that has a place as the backing to the ending scene of a film. Both sound and lyricism work perfectly together, the message of the song is one of returning home to somewhere you have fond memories of, and realising it’s not as you remember it, wishing it could be so. The tone is somewhat upbeat, and upon first listening I found myself feeling hopeful like nothing else, and I suppose that is the beautiful irony of nostalgia, the positive memories remain, so close you could almost touch them. 

‘Crumbling Empire’ continues on the theme of things not being as they used to be. A melancholy piece, delving into Fender’s struggle to come to terms with the fact that he is now an outsider to the “ordinary” folk. Arguably the best verse in the entire album is featured in this song: “I’m not preaching I’m just talking, I don’t wear the shoes I used to walk in, but I can’t help thinking where they’d take me, in this crumbling empire” A pulchritudinous piece of lyricism perfectly epitomises Fender’s guilt in the relative privilege that he has gained. The first line in this chorus is a sensational depiction of the intention behind Fender’s writing, he doesn’t want to influence our views, or provide a political commentary on this “Crumbling Empire”, he is merely speaking his experience, what we do with that experience is up to us.

‘Chin Up’ also depicts Fender’s guilt and struggle with fame: “Entitled, idle and dumb, 28 still sucking my thumb, hard truth’s I’m dancing to the rhythm of it, scarred youth but now I’m actually going through it.” There are multiple interpretations to this, you could say that he’s saying that things are harder now, living with fame. Or you could say that he’s talking about how the trauma of his youth is affecting him now. Either way, it is clear that with age comes a struggle.

A privileged lifestyle doesn’t come naturally to Fender, he speaks of his Dad working on a rail yard and having his work degraded, his family being “left homeless, down and out”. 

Fender’s humble beginnings are highlighted in ‘Wild Long Lie’, a heavy exploration of Fender’s conflicting views on escapism from his home (some proper sax in the ending by the way). He speaks of frustration with hypocritical politicians and feeling a need to get out and away from the difficulties at home.

The beautiful aspect of Fender’s music is how he manages to simultaneously describe specific experiences that he has had, whilst also allowing the piece to feel relatable to the listener. In an industry full of soulless love song after love song, everything that comes out of Fender’s mouth has variety and heart. ‘People Watching’, the title track of the album describes Fender’s experience going to and fro hospital to visit a loved one, a harrowing spectacle, yet the track has the same showstopping feel to ‘Seventeen Going Under’ and ‘Hypersonic Missiles’, his previous headline acts. Whilst various street names and specific individuals are mentioned in various places throughout the album.

It is only right to finish this review by talking about the final track on the album, ‘Remember My Name’. This is a departure from Fender’s usual style, the pumping sax is replaced by a beautiful brass band. Now I’m a big fan of the sax, but this song provides proof that Fender can be anything he wants to be, any style, he can perfect it. 

It is written from the perspective of his Grandpa, as he attempts to care for his wife, who is struggling with dementia. It is a moving ballad with lyricism that could bring the most emotionally stubborn of us (me included) to their knees. “I’ll tell you stories, I’ll kiss your face, and I pray you’ll remember my name”, a powerful lyric, as we all fear being unable to share our grandest and most treasured memories with those we shared them with, the thought of it is a dagger to the heart. 

Dementia is something as bad as death, and I am delighted that Fender has brought the issue up and produced such a soulful piece. He describes things “not being the same without you” highlighting the similarities in the experience of death and this terrible disease. 

As the album comes to its end, us the listener’s only answer is to cry, cry tears of over washing emotion, a reaction to a stunning piece of art, and cry because it’s all over.