There aren't many home-town heroes these days, or ones that exemplify so much pride and love for where they come from.
Sam Fender, born and raised in North Shields, brought his patriotic collection of loss, love, and longing to Melbourne's Sidney Myer Music Bowl last night (14 November). It's the first stop on the Australian leg of his People Watching tour, named after his recent Mercury Prize-winning third album.
He's not alone in tonight's proceedings either. With an array of musical acts to warm the stage, Fender has given the crowd sprawled across the grassy hill – like a musical zombie apocalypse – more bang for their buck then they can dream of.
It kicks off with a Day We Ran into Beddy Rays combo with each band's nostalgia-rock vibes creating a lovely anticipation. Fellow Brit, and label-mate, Holly Humberstone gets second billing on this tour and it's evident why (read our review of her Melbourne headline concert on Thursday).
The rising starlet shines with her indie-pop gems. 'Falling Asleep At The Wheel' feels dark and introspective where waves of emotion drench you in a glittery spectacle with a driving beat.
'Scarlett' is a diamond in the artist's catalogue, a full fledge kicker of drums and synth to swing to, with latest single 'Die Happy' being an experience made for the live stage. Big things ahead for all three acts and a very welcome addition to the show.
Holly Humberstone - image © Sam Mead
Things get a bit rowdy as the tune-thirsty sprawl of fans eagerly await the British rockstar, screaming as lights fade to a glimmer before silhouettes fill out onto the stage. Smoke looms out into the crowd.
There's a strum, and then another. "You alright Melbourne, you doing alright? This is class this. . . alright let's see ye-z dance," booms that iconic accent. The band starts up like clockwork, performing a string of hit after hit, starting with the nostalgic 'Angel In Lothian' into the dancey 'Will We Talk?' and 'Getting Started'.
The band consists of three guitarists, one drummer, one pianist, a synth and guitar, a back-up singer armed with a tambourine, and a saxophonist/ kazooist. It's a fully-fledged rock orchestra bringing to life these lush vocals with Fender conducting them all with a flick of his guitar and the flow of his dulcet tones.
"I didn't quite realise how many of you there is, to come this far and have so many of you come out it's amazing," says a very thankful Sam to a crowd of 15,000 on night one of his two-night showcase at Sidney Myer Music Bowl.
Sam Fender - image © Sam Mead
'The Borders' is a jaunty number juxtaposed against lyrics of homegrown loss and heartbreak wrapped in a hard-hitting drum beat that explodes into a gooey saxophone riff. It's bold and it's punchy, and there's not been a single misstep so far.
The visuals leave something to be desired however, with a minimalistic approach that would be fitting for a supporting artist rather than the main act. Visuals of the band and Sam in inverted tones flash on-screen every now and then.
Every member of the band, including the rockstar himself, wear casual blacks. It shows the focus is really on the music and that pays off in spades, as you could not fault the band in all their professionalism and effortless melodies.
Sam is at his most confident after the critical acclaim of recent outing 'People Watching'. 'Crumbling Empire' and 'Arm's Length', two tunes off the album, are given richer depth and euphoric instrumental bridges that take them to soaringly magnificent heights.
Sam Fender - image © Sam Mead
Similarly, title track 'People Watching' begins with Fender strumming his Fender guitar, building a heavy rhythm until a synth pops into a luscious '80s dreamscape in this softer, poppier version as the chorus flashes black text on yellow word by word on the happy punters. You know it's good because they all have a single hand pointing at the air.
'Talk To You', off the soon to be released deluxe album of 'People Watching', feels gloriously warm like bathing in sunlight. Fender shines here, tying his classic Springsteen-influenced Geordie vocals in a stadium-ready knot of a banger that already feels timeless. "We're gunna go away and come back with another album," he promises.
Things take a turn for the heavier on the seizure-inducing 'Howdon Aldi Death Queue'. As red, green and blue strobes frantically flash onto the crowd and out over the hills against clashing strings and metal the crowd is lapping up. Even the saxophone goes heavy. "It's a f...ing stupid song that," he chuckles, admitting the record execs loved it, with an Alan Partridge voice: "Oh my god it's a hit!"
'Spit Of You' chases the bond between father and son, and male stubbornness, as Polaroids of the singer's childhood pan out revealing a collage of baby Sam and his father at the end. This theme of upbringing bleeds into the next track, the extremely popular 'Seventeen Going Under', which sees Sam having to scream over 15,000 people singing his own words back to him in full force. You'd think there was a British invasion, the way it was all kicking off.
Sam Fender - image © Sam Mead
"Were gunna do that thing where we pretend to walk off stage but we actually don't," he jests, leaving the crowd chanting his biggest hit before returning on his own almost instantly to a single spotlight and a melodic ripple of acoustic guitar, as he croons the delicate and wistfully tune 'I'm Always On Stage', highlighting an impressive and captivating vocal prowess that leaves you longing for a lover you didn't even know you'd lost.
The night ends with a one-two punch. The uplifting 'The Dying Light' sees Sam tickle the ivories before the song crescendos into an orchestral hymn, before 'Hypersonic Missiles' literally bursts into a lush confetti explosion of pure rock & roll.
It feels like the local legend has outgrown his hometown and is finally finding his footing on a global scale. Equipped with an array of arena-ready bangers, there's nothing else left to do but let the songs shine in the spotlight.
- written by Sam Mead
More photos from the concert.
