That ever elusive second album, eh? Many a talented musician has failed to recapture the heights of their first body of work. For Sam Fender, however, there is no such ‘sophomore slump’. Two years on since debut LP Hypersonic Missiles flew to number one and rocketed him to the top of the British indie music scene, follow up Seventeen Going Under looks set to ensure he stays there.
Adopting a more introspective lens to his songwriting, building on some of his debut’s highlights like ‘The Borders’, Fender bares his soul as he relives some of the most heart-churning memories from his own childhood and adolescence. Although dark in places, perhaps a product of the lockdown period in which it was largely created, Seventeen Going Under ultimately serves as a grand celebration of where he comes from: a coming-of-age story and triumph over adversity.
Title track ‘Seventeen Going Under’ certainly reflects this feeling. An instant favourite amongst his army of fans, the fist-pumping opener sets the tone for the rest of the record. Underpinned by a gripping guitar hook and punchy, hard-hitting lyrics, the song builds to an expertly-crafted crescendo as the meaning behind the title rears its head – “I see my mother, the DWP see a number/ I’m seventeen going under”.
‘Getting Started’ and ‘Get You Down’ are two bona-fide festival anthems: the former’s feel-good dance grooves followed up by the latter’s juxtaposed self-deprecating lyricism and forceful musical arrangement. The delicate beauty of the Geordie hero’s lyrics comes to the fore once more as he acknowledges the toxic masculinity which has consumed his relationship with his father on ‘Spit Of You’.
It is Fender’s growing versatility as an evolving artist which is particularly impressive on this record. Introducing the piano to prop up the poignant ‘Last To Make It Home’ and the stunning Springsteen-esque closer ‘The Dying Light’, his guitar ability is also notably advanced as he lets rip on ‘The Leveller’ before coolly changing vibe on the gentler, Americana-y ‘Mantra’.
The record’s aforementioned final track, ‘The Dying Light’, provides a fitting denouement for an album with overarching themes of resilience and overcoming. A stirring sequel to ‘Dead Boys’ from Hypersonic Missiles, Fender delivers a reason to keep on keeping on amidst any potential mental health struggles that may arise in one’s life – “For Mam and Dad and all my pals/ For all the ones who didn’t make the night”.
The 27-year-old’s own life story, punctuated by its fair share of hardships growing up in North Shields and yet culminating in being thrust into musical stardom, stands to signify just what can be achieved through perseverance. This is the message Fender sets forward to the world with this album, and it’s an important one.
While Seventeen Going Under may lack the volume of arena-filling hits which characterised its predecessor, it is undoubtedly a more nuanced and sonically cohesive effort which demonstrates Fender’s marked artistic progression. It is Sam Fender’s statement record: cementing himself as one of Britain’s most revered songwriters.
Rating: 4/5
