Fender whets appetites for live show
It’s an interesting play to release a live album just as you’re emerging as an artist of arena rock stature. But that’s exactly what Sam Fender has done with “Live From Finsbury Park.”
Turns out it’s not a bad idea.
That’s because the album, recorded in July at an outdoor concert in London, will only whet the appetite of worldwide audiences who have discovered Fender’s angsty, substantial rock and roll but haven’t seen him live. He recently released it on vinyl, in tandem with a deluxe CD edition of his breakthrough 2021 release, “Seventeen Going Under,” that includes two solid new cuts.
Tickets will be harder to come by following this release.
Fender hails from a working-class seaside town in northeast England, and his music has been compared to Bruce Springsteen. That’s fair. He has acknowledged in interviews that Springsteen is his favorite artist, even as he says the comparisons don’t do him any favors.
The similarities surface in concert more than on his studio work. The sound of 45,000 people singing along with gusto to every achy lyric of Fender’s brilliant song “Seventeen Going Under” will feel familiar to Springsteen fans. So will the crowd spontaneously carrying on with the “oh-wo-wowo-wo” melody well after the band stops playing.
But Fender is no copycat. He’s so direct and honest in his delivery that he connects with audiences on his own terms. His sound is identifiably British, and he writes soaring,
anthemic songs that rarely feel derivative and sings them with passion and conviction.
He sings about his father on “Spit of You” (“I can talk to anyone, but I can’t talk to you”) and of mental illness on “Dead Boys,” a song about young men he grew up with who didn’t make it.
Fender sings about difficult relationships, lost relatives, faith, hope and regret. His experiences are his own, but he makes it all feel universal.
Fender has played in New York and Los Angeles but canceled North American concert dates in 2022 to look after his own mental health. This new music makes it a near certainty that his audience across the Atlantic will be there when he’s ready, primed to sing along.
— Scott Stroud, Associated Press
Ab-Soul’s “Herbert” is peppered with messages
— a voicemail from his praying grandma, snippets of encouragement from his inner circle and so on. But it’s the rapper’s reflections on himself and his life that define his latest project, making it the lauded lyricist’s most beautifully vulnerable set yet.
“Herbert” is named for the man behind the
Ab-Soul rap persona, born Herbert Anthony Stevens IV. The music finds Ab-Soul looking back all the way to childhood, like on the Kal Banx-produced “Hollandaise,” in which he recounts memorizing songs from 1990s duo
Kriss Kross and typing “freestyles” for an internet audience via AOL dial-up.
Now with his fifth album release, the 35-year-old finds the music just as all-consuming, and yet never enough. “Gotta go hard in the paint/ Gotta night-ride when they call it a day/ All work, no play, crank up the ball and the chain,” he raps.
On title track “Herbert,” Ab-Soul continues to delve, examining his burdens — from developing the rare and painful Stevens-Johnson syndrome at age 10 to dealing with complications now, decades later. “Eye doc said I need new corneas/ I rather need those than a coroner,” he raps in celebration of his survival.
And perhaps that’s what stands out about this Ab-Soul album. For all its darkness — depression, death and more — Ab-Soul finds reasons to live, like on the mantra-like “Do Better,” featuring singer Zacari.
Guest Jhene Aiko brings her ethereal energy, singing alongside Ab-Soul as he bares his soul on “The Wild Side.” Other guests include rapper Big Sean, who comes with a notable verse on “Go Off,” and rapper Joey Bada$$, who appears on the lyrically enjoyable “Moonshooter.”
Ab-Soul says “they’ll never understand Herbert Anthony,” but his latest release certainly brings fans closer.