Sam Fender’s Comeback Arena Tour Hits London: 5 Biggest Moments

Few would start an arena show with a song as heavy as “Dead Boys,” but Fender has always been unflinching in his need to discuss knotty subject matter in his lyrics. Featuring on 2019 debut Hypersonic Missiles, the track is exasperated by the scale of male suicide in communities in the North: “We all tussle with the black dog/ Some out loud and some in silence/ Everybody ’round here just drink/ ‘Cause that’s our culture,” he sings. Later on in the performance, he references the same lost lads during the Springsteen-esque “Dying Light,” bleakly noting that there’s “more every year.” Fender is a songwriter who doesn’t do things by half, nor forgets where he’s come from.

Initially criticised by a small section of fans after the tour’s opening night for its trim setlist (Dublin only had 15 songs, London had 17), the show has blossomed over the last week as the band find their footing with new material after a relatively lean year on the live circuit. But the unpredictability gives the show something of a freewheeling approach, especially before larger stadiums beckon next summer. At The O2, a fan called Euan gets himself onstage to play acoustic guitar on “The Borders,” while the band throws in a cover of The Clash’s “London Calling” midway through the set, a fitting nod to the venue’s location by the Thames. After the brooding intensity of the set’s earlier material, this cover and “Howdon Aldi Death Queue” upped the energy.

Much of the recent innovation in live performances has taken place in the pop and hip-hop space, but even for indie and rock acts there’s gains to be made and new angles to consider. A fair chunk of budget for Fender’s tour has clearly gone towards refining the visuals and production value of the show, with the stagewide screen giving the show a cinematic feel. Whether it’s the grainy black and white clips interspersed with shocking yellow lyric cues (“People Watching”) or honoring paternal relationships by incorporating candid shots of his fanbase and their fathers (“Spit of You”), there’s plenty on offer to maintain engagement – and look attention-grabbing on the social feeds. Oh, and there was fireworks, confetti and all the usual trimmings, of course.

Part of Fender’s appeal is that despite his solo billing, there’s a familiarity with his wider touring band. Fans at previous gigs will recognise the same motley crew from years past – such as the sax man Johnny “Blue Hat” Davis in his traditional Newcastle United strip – and feel that it’s a gang of mates up there and the work of many hands. Fender’s longtime friend Brooke Bentham is brought in as a backing vocalist, and she brings a new depth to the live set-up, most notably on the unreleased track “Arm’s Length.” It’s a live band to believe in, not the work of touring mercenaries.

There’s a case to be made that “Seventeen Going Under” is one of the most impactful songs by an indie artist in the 21st century, or by a U.K. act in general. Few acts would dare to make a song that touches on subjects as raw as this one – spiraling mental health, teenage misdemeanors and dehumanization of people applying for relief from The Department of Work and Pensions – let alone make it so catchy that everyone in the 20,000-capacity venue could scream it back word-for-word. These are songs that matter, and are felt deeply.