Written by Tom Bedding
Sam Fender has become one of the most beloved indie songwriters of his generation, leaving him to be a vital and great voice for many in this post-brexit era. After gaining great applause for his debut record, it was fascinating to see how the songwriter tackled his second album. It may not be the 'better than Oasis' mantra that Elton John was going for but it is still a solid and much needed release by Fender.
The title track starts off Fender’s second record in a fashion that is both expected and infectious, which is why Sam Fender is becoming so highly regarded by his fans. Here we have the songwriter looking back at his seventeen year old self and singing what he wishes he was told at that age. With lyrics like ‘that’s the thing with anger, it begs to stick around, so it can fleece you of your beauty’, anyone would take the advice given that is found within this opening track. Away from the decent lyrics, the song feels very samey but hey, you come here to divulge in that sax and Bruce like finish on this album.
Indie bliss then takes over the infectious ‘Getting Started’, showcasing Fender’s ear for a good hook and way for reciting his feelings towards growing up in today’s world. For sure people will be taken off their feet by the slight 'Cure' like acoustic guitar part but it is the intentions of the tale at hand, that should impact you the most. Sam Fender is a voice that so many of in the U.K. need and are hugely appreciating right now. So with a song like ‘Getting Started’ offering a positive kick even if things are tough, you have to applaud the mans intentions and purpose found within his songwriting.
Fender’s anger towards the Tory government does seem less ‘I know what should be done’ but more direct and pointing out how they have let so many down, which could be seen as either more punk like or even maturer? Anyway on ‘Aye’, the sinister guitar riff creates a solid tone of angst and anticipation, while the singer points out how the system has let things such as Epstein and Lennon being shot, happen. Sadly the song does not really have the release from the tension that is built from the first few seconds, you are just given more anger that does not really offer much to the table later on in the song.
Jealousy and low self-worth is tackled on ‘Get You Down’ and if you had to guess how it goes, you would most likely be able to guess how this cut plans out. The riff again is rather solid and Sam’s vocal delivery is again infectious and passionate, however we are given the same middle eight and saxophone moment…come on now..... it can get the crowd going but there’s more to life than a sax people.
Fortunately, we then move into such a good feel in the guitar work and an impactful stompy beat on ‘Long Way Off’; which looks at how polarised politics has been in recent years. You can feel the artists pain and emotion in wanting to point out the fuck ups by the people in power and how he wants to support the people, who are most affected by it.
Inspired by the sad scenes of his father saying goodbye to his grandmother, ‘Spit Of You’ feels so touching and personal. The guitar work is nice and Fender sounds so graceful in the verses, despite talking about how so many of us struggle to convey our emotions, in the best possible way. This track comes at a point that really leaves a big impact on the listener, showcasing how Sam Fender is a confident craftsman with his work. As the song progresses, the typical ‘lift off’ with the guitar solo is more restraint and this tactical move, gives the listener a much needed change of pace.
Changing of pace happens again soon after on 'Last To Make It Home', which includes a subdued piano part and lyrics about looking at a necklace of the Virgin Mary (that somehow ends up becoming a girl on social media?).
Regardless, the waltz number is again a nice moment on ‘Seventeen Going Under’ and is a fine anthem for someone who has felt like a bit of a loser at times. Yes it is great that the singer goes at our leaders and talks about the impact of their actions on everyday people but to touch on something as mundane as feeling lame, it goes a long way for the average folk around Britain.
credit: Tom Oxley for NME
The depression then spoken about on ‘The Leveller’ feels like it’s being swept away in a mighty way by this heavily rocking track, that does not fall alway at any point. There is a feeling of ‘here we go again’ with the big singles and songs like this, yet the intentions behind Fender’s artistry feels so infectious and rewarding, that ensures the taste of his songwriting doesn’t get tiresome.
‘Please stop trying to find comfort in those sociopaths’ rings out at the start of the soothing ‘Mantra’, giving this album yet another much needed flavour as the last third of the LP begins. Here we have the North-Shields man sing about the crazy people he has meet in the music industry and the struggle not to fall into their bad habits. However I do wish the mixing of the song felt a bit more glamorise for some reason? I may need some time to figure out why though.
You do feel like you have been given enough from this album, even if you do itch at the thought of Fender potentially not leaving his comfort zone. However when you smash it with wanting a big band and chorus again and again like on ‘Paradigms’, you can't blame him for not wanting to, right?
For the final track, ‘The Dying Light’ is deemed a sequel to the songwriters song ‘Dead Boys from his debut record. The perspective of the song this time though, is coming from the person who is considering taking their life, leaving the last moments of the record as a very upfront and emotive period. Sam Fender sounds wonderful over the passionate piano playing and when the drumming comes in, you have to admit that it is a fine way to conclude another solid album by this important artist.
Bring Me The Music Recommended Tracks: Seventeen Going Under, Getting Started and Spit Of You
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