Fender Blows Fans Away in Biggest Performance Yet

One of the most promising UK acts, Sam Fender, released his second album Seventeen Going Under on October 8, 2021. After more pandemic restrictions were lifted and big concerts took place once again, Fender announced his Seventeen Going Under Tour. On May 9, 2022 Sam Fender sold out 45 thousand tickets for his concert at Finsbury Park, his biggest show to date. Blown away and deciding it shall be one to remember, the concert was promptly recorded, and made into a live album. 

“Will We Talk? (Live From Finsbury Park)” is the album’s opener. It is a short energetic banger, relying on the drums and guitar for its vivacity. Sam Fender’s voice is strong and raspy on this track, which tells the tale of two people who are about to go home with each other after a drunken night out. It’s unexpectedly sweet and youthful, yet not naive.

“Getting Started (Live From Finsbury Park)” tells the story of a young, 18 year old artist trying to make it in the industry, trying to find his place in a place that doesn’t allow for just anyone. Fender sings “I’m only getting started / Don’t mean to be disheartened / Felt like I’ve given up many times before, but I’m still here grinding.” The saxophone in the song are significant, energizing the song and adding passion to it.

“Dead Boys (Live From Finsbury Park)” is, in Fender’s words, about his hometown, and “about friends who aren’t with us anymore.” It starts off with a guitar playing a repeating riff to warm the song for Fender’s melancholic vocals remembering the anniversary of a friend’s death. It is something painful to reminisce, but death is as human as life is, and Fender seems to know this, as he belts out “all the dead boys in our hometown,” until the song ends. 

“Mantra (Live From Finsbury Park)” begins with ethereal guitars and synths, drenched in reverb. The song includes a thoughtful trumpet solo, which sounds a tiny bit out of place, yet still sounds cohesive. It ends with a slow and flowy guitar solo, just as the audience erupts in cheer.

“Better of Me (Live From Finsbury Park)” unexpectedly opens up with a piano acting as a bass. The drums and guitars are on the calmer, more power ballad-y side. Fender paints a wistful picture of hitting a low spot in his life, and going through a rough patch as he tries to improve himself. “God, you really got the better of me,” he sings.

“The Borders (Live From Finsbury Park)” is immediately more energetic. The band’s ensemble perks up, the bass, guitar, synths and drums fill the space, sounding grand and nostalgic. Its theme is very reminiscent of “Castle On The Hill” by Ed Sheeran.

“Howdon Aldi Death Queue (Live From Finsbury Park)” is unexpectedly heavy for Fender, genre-wise. It is a rock track, with fierce guitars energizing the show. “I’m twenty-five going on ninety-five and I’m gonna die in a Howdon Aldi Death Queue!” It is easy to imagine the audience jumping up and down to this spirited track.

A special moment during “Get You Down (Live From Finsbury Park)” is hearing the audience clap in synchrony during the bridge, accompanied by violins and strings as Fender repeats “Get you down!”

“Spit of You (Live From Finsbury Park)” apparently talks about being the spitting image of his father ever since he was young. And even despite looking just like him, he can’t talk to him. It is a melancholic and heartfelt song, but medium on the energy scale, not slowing down, not even for the sad parts.

“Alright (Live From Finsbury Park)” opens with an emotional guitar, and an unexpected xylophone. It’s about the ups and downs of growing up, and dealing with things. 

“The Dying Light (Live From Finsbury Park)” starts off with Sam reminding the audience in good humor that he might pretend to walk offstage, that he hates encores and should stop doing them… but he’s gonna do one tonight. He dedicates this to “people from a small town, and friends who didn’t make the night.” The song begins with an emotional piano and chords. It talks about feeling alone, despite not being physically alone. Suddenly, the song picks up in energy, guitars and the drums perking up just as Fender sings about being damned if he gives up. “I must repel the dying light, for Mom and Dad, and all the ones who didn’t make the night.”

Sam’s voice has a slight delay effect as “Saturday (Live From Finsbury Park)” begins. He insists the audience have the honor to begin the song’s first lines. The bass is wobbly, the drums punchy, and the guitar is twangy and eager. The song is an ode to the weekend, wanting Saturday to come as soon as possible, all for mental sanity. Fender engages his audience, making them feel the song and sing along.

Finally we get to the album’s namesake; “Seventeen Going Under (Live From Finsbury Park)” a harrowing view into Fender’s childhood and upbringing. “I was far too scared to hit him, but I would hit him in a heartbeat now. That’s the thing with anger, it begs to stick around” seems to be the most iconic line in the song, having become viral on TikTok for its sentimental significance.

Fender closes the album with one of his most renowned songs, “Hypersonic Missiles (Live From Finsbury Park)” which elicits a mind-blowing amount of energy from his audience, and himself, as he belts out the chorus. Fender closes the concert, going out with a bang and leaving everyone stunned with memories of a great show they will certainly remember.