Local Singer-Songwriter Sam Fender has just performed the biggest two gigs of his life, to an army of adoring fans at his beloved St. James’ Park in Newcastle. Unlike the majority of my social media feed, I gave it a miss. What on earth is wrong with me?
Sam Fender is a phenomenal vocalist.
One thing that is beyond debate is just what a great singer Sam Fender is. His god-given tenor range sets him apart from the crowd, as people just aren’t used to hearing a male vocalist sing that high. But more than that, it’s the power and emotion in that higher register that makes him a unique vocal talent I greatly admire.
Sam Fender’s approach to lyrics.
Bare, honest. emotional, explicit, and topical spring to mind, and the lyrics-first songwriting method helps Sam to get his message across in its purest form, without such trivial things as music muddying the waters. But the lyrics-first approach has a major drawback in that those well-thought-out words and phrases need to be shoe-horned into some sort of coherent musical structure, which isn’t always easy or successful.
Listen to Spit of You as an example, it’s a great song but you can tell that the lyrics came first in the way the words jar against the music, particularly in the first verse. It feels a little off.
Ostinato and similar chord progressions.
Sam’s trademark sound, in common with many of his musical peers, revolves around an Ostinato style of a repeating musical progression, with interest and variety coming from that incredible voice and range. Take Seventeen Going Under and Spit Of You, again. Very, VERY similar songs that basically loop a chord progression. Sam can pull it off, of course, he can change a verse into a chorus by going up a gear, he can make it work.
There is also such a thing as the Sam Fender chord, a C barre inversion with open G and high E you can hear all the way through Seventeen Going Under. Like Ostinato, Sam also spams this along with an m7 inversion in many of his songs, with only a capo, tempo, and vocals providing musical differentiation.
Sam Fender’s local boy done good schtick.
There are so many elements to this, and hat’s off to Sam, he has a business model, and it’s working!
I want to cover the most obvious element first, and a pet hate of mine: The whole singing-in-a-regional-accent thing. It’s just something I cringe about and don’t find necessary, especially when your vocals are this good. I guess it’s working for him and it’s his choice, but on a purely musical level, I don’t think he needs the gimmick. Some of the greatest singers this country has ever produced: Paul McCartney, John Lennon, Rod Stewart, Tom Jones, Bono… The list goes on. Do you hear them singing in a broad Liverpudlian, Scottish, Welsh, or Irish accent?
But it’s not just accents and lyrics. Sam is a Toon Army fan, still lives locally, and embraces everything North Shields (his and my hometown). Never has that been more evident in this weekend’s gigs, but I still didn’t go, and that’s because nothing I’ve mentioned so far necessarily equates to being entertained by his music for ninety minutes (Although Spit of You is still great).
Sam Fender putting North Shields on the map.
More than anyone else in my lifetime, Sam Fender has put North Shields on the map. He is a local hero and has the awards and fans to prove it. His music has even broken through to an unwilling average Joe like me, which speaks for itself.
I just hope that in the future, Sam produces music that doesn’t need that North Shields connection and that simply stands on its own as being universally great without gimmicks. He certainly has the talent to do so.
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