#sam fender social media

[stellatekintsugi]

Sam Fender

[jane-gunson123]

My master list:

Sam Fender

England NT

Other footballers

Peaky Blinders

Teen wolf

Outer Banks

The vampire Diaries

Sons of anarchy

Send some image requests.

[starry-hughes]

First of all congratulations for 100 🥳

Could I do two things? For the blurb “I know everything about you, darling, and you’re so perfect.” with Trevor Zegras and for the playlist-thingy 25?

-much love 🍪

playlist #25: getting started by sam fender

just a little pump up music as im working on finishing my college degree!

-

it was hard, being the girlfriend of one of the upcoming faces of the nhl. you learned quickly that you had to go private on social media and pretty much blocked out everything mean being said about you.

it didn’t mean that it didn’t affect you. it was a particularly bad day when you saw comments about you on social media. trevor was coming home from practice when he found you crying on the bathroom floor.

“hey, hey, hey. what’s wrong?” he immediately dropped his bag and rushed to your side. kneeling, he cupped your face in his hands and checked over your body for any sign of an injury thinking you may have accidentally injured yourself or fell.

“why is everyone so mean?” you choked out. “c’mere.” he sat next to you, pulling you into his lap. “what were they saying this time?” he asked. “just about how i look and what not,” you sniffled, playing with trevor’s hoodie string.

“baby. you’re perfect. you know that? fuck whatever they are saying. i know everything about you, darling, and you’re so perfect.”

trevor sat with you until you were ready to get up. he pulled you into a hug, mumbling a soft apology for letting this happen to you. “i know who you are and i don’t care what they’re saying about you,” he affirmed.

later, you checked your phone, finding a picture from a couple of nights ago that trevor took. you were curled up in his side watching tv. it was posted to his public instagram story with a single heart added to it.

star’s 100 follower celly!

[thekingofgear]

'Wall of Eyes' Film and Zine Gear Updates

On January 18, The Smile and Paul Thomas Anderson’s Wall of Eyes film collection was premiered at the Prince Charles Cinema in Leicester Square, London. The first piece in the collection is a silent film showing the band recording Wall of Eyes at Abbey Road. We initially see the band playing and talking in the live room at Studio 2, but as it progresses we also see them giving direction (and reacting amusingly) to the London Contemporary Orchestra (a slight surprise as Jonny usually record strings at Air Studio’s Lyndhurst hall).

As you might expect, most of the instruments and gear used by the band is similar to what they brought on the road. In an interview with Lauren Laverne for the BBC, Thom mentioned that the songs were mostly written very quickly, some on tour and some in studio. “Especially with Tom [Skinner], he’s super quick… so we could have an idea, and suddenly it's off the ground within like half an hour, and we started getting into this habit of like — take three was like ‘that’s it, move on.’” So it makes sense that the band would use much of the same equipment as on tour, if only to speed up the recording process.

However, there were a couple of surprises in the silent film. One shot showed Jonny with an Eventide H9 pedal floating beside his pedalboard. Previously, only Thom had used the H9, and Thom used it as a vocal effect. Another shot showed Thom playing his black 1963 Fender Jazzmaster. Thom’s old big-box Electro-Harmonix Holy Grail could also be seen beside his pedalboard, though it wasn’t plugged in.

The Wall of Eyes Zine

In addition to watching the film by PTA, attendees could also purchase a “zine” full of photos taken by Sam Petts-Davies during the recording of the new album. The zine is printed on newsprint, reminiscent of Radiohead’s Universal Sigh and The King of Limbs newspapers. The zine mostly shows the same gear seen in Sam's previous photos of the session, and some of the photos were previously shared on social media. But there are still plenty of new details to take in!

Jonny with Thom/Nigel's worn sunburst Fender Telecaster Standard. You might mistake it for Jonny's Tele Plus given the wear on the "horn" of the guitar, but the pickups and the white binding show that it's the Tele Standard that Thom first played for AMOK touring in 2013 (it was still very worn back then).

In one photo, we can see Thom playing a Martin acoustic, perhaps from the recording of the single Wall of Eyes. Another photo shows a be-speckled Jonny on a couch with Thom/Nigel's worn sunburst Fender Telecaster Standard. But before you assume Jonny has abandoned his Les Paul, he can be seen playing his (plugged in) natural finish Les Paul Standard in the studio's control room in another photo. Jonny is also seen with the Les Paul in photos from the live room at his home studio (the grey-blue painted room from which the Smile have previously shared rehearsal footage and photos).

This photo by Sam shows Jonny with his natural finish Les Paul Standard in the control room at Abbey Road Studio 2. It's very similar, but not identical, to the photo included in the zine. This photo was posted on the band's twitter on Oct 9, 2023, but it was most likely taken in March 2023, and only posted in October to help publicize the band's fall 2023 tour. If you want to look around the control room, a 360º view is available on 360cities.net, but it appears the room has been renovated slightly since that was taken.

A wide view of the live room at Abbey Road Studio 2, taken partway up the stairway to the control room. Some particularly notable bits of gear include the Prophet 5 REV4 between Thom and Jonny's stations (presumably for shared access) and the Elektron Analog Rytm (partly blocked by Thom's head) on top of the Rhodes electric piano.

One of the largest photos in the zine, spanning two pages, shows a nearly full view of the live room of Studio 2. On the left, we can see an impressive array of synths resting on top of the grand piano, including Thom's Moog Matriarch and one of Jonny's Oberheim SEM Pro synths. Clearly the band prefer the sound of upright pianos for this project. While the grand is used as a synth table, there are two mic'd uprights just behind Thom's area. Jonny Sequential Prophet 5 REV4 is also visible on a stand between Thom and Jonny's stations, suggesting it's getting a lot of shared use. On tour, Jonny used his Studiologic MIDI pedals to play synth lines on the Prophet, and the synth can be heard layered with strings on the new studio recordings. The MIDI pedals aren't visible in studio photos, so presumably Jonny decided to play those parts by hand for the studio recordings.

Thom is seem sitting at the Rhodes piano, playing a guitar or bass. On too of the Rhodes he has a sheet of (presumably) lyrics, and also his Elektron Octatrack (which Thom previously used on the album recordings for ANIMA) Elektron Analog Rytm drum machine (which he used heavily on Tomorrow's Modern Boxes and (at least on tour for) Anima). Behind him, his phone is visible resting on top of his favorite amp for the past seventeen-ish years: a fawn JMI Vox AC30/6 from 1962 (the pre-Top Boost version).

Tom Skinner is seen playing in one of the two isolation booths for drums. Another isolation booth is set up in Jonny's section, but instead of Jonny it's Robert Stillman recording in it (at least, one can only assume Stillman based on the saxophone horn visible through the booth's window). Jonny himself appears to be sitting hunched over near the couch and coffee table — it's unclear if he's playing an instrument, or perhaps manipulating a Max patch on his laptop.

Stillman is visible recording saxophone and clarinet in other photos from Studio 2 as well. He's credited for clarinet on Read the Room, and for clarinet and saxophone on Friend of a Friend, Pete Wareham, who previously played with Skinner's past band Sons Of Kemet, is seen recording flute in another photo from Studio 2. Wareham is credited for flute on Teleharmonic and Read The Room.

This photo of Tom Skinner in Studio 2, previously posted on the Smile's twitter page, was also included in the zine. It appears to have been taken during setup: the isolation booth isn't fully set up yet, and a ladder can be seen on the right.

Another photo (above) shows Thom's guitar and bass pedalboard. The first row of pedals (closest to him) are all favorites from the past few Smile tours (check his pedalboards page for more info). On the second row, EarthQuaker Devices Sunn O))) Life pedal has been squeezed between his EQD Afterneath and his Telenordia Kompressor. There's also an array of (unconnected) overdrive and fuzz pedals resting on the riser at the top of his board (we saw many of the same pedals arrayed there in a previous photo from the session).

In that photo, we also see Thom playing his modified 1960s Gibson EB0 bass guitar through an Ampeg B-15 Portaflex combo amplifier. The EB0's original single coil pickup is replaced by a Kent Armstrong Tele Dual Rail pickup (thanks to Makoto for pointing this out) on a custom plate, presumably a mod by a previous owner. Jonny is a big fan of the Ampeg Portaflex, having used a 2000s Portaflex B15R for sessions with Radiohead and Shye Ben Tzur, and also for the Smile’s debut live stream from the 2021 Glastonbury festival. The original 1960s Ampeg Portaflex was favored as a recording amp by American bassists like James Jamerson and Donald “Duck” Dunn — both notable influences on Jonny’s brother Colin.

It's interesting to note that none of Jonny's ondes Martenot are visible in the photos from Abbey Road. On tour, it's understandable that Jonny doesn't play the monophonic Ondes, because he almost always needs to play many notes at a time to fill out the rhythm section on the Smile's songs. But the the bridge/coda of the Wall of Eyes single prominently features Ondes Martenot (though it's often layered with strings). Perhaps Jonny overdubbed those parts at his home studio, or at another studio during mixing.

This photo of Thom in the control room of an unknown studio was posted on the band's twitter account on August 30, 2023 (photo by @sampettsdavies). It's definitely not from the control room in Abbey Road Studio 2. Perhaps it's the mysterious "StudioFour" in London, which is listed as the mixing location in the album's liner notes.

This photo of Jonny on stage during a soundcheck with The Smile is also included in the zine. It was posted on the band's twitter account on Sep 5, 2023 (photo by @sampettsdavies). It, like the photo set posted 4 days earlier, is probably from the band's July 2023 tour.

[seasurfacefullofclouds1]

what i find interesting is all of those classic rock musicians who basically already have legendery status are much more supportive of Louis than those nowadays' indie musicians: I'm talking about that Gallagher situation or Green Day adding OOMS to the playlist and even tho I know it's not curated by Arctic Monkeys themselves but both Louis' singles appear on their spotify radio And then there is Sam Fender and Catfish and the bottleman

But the most interesting part is all of those legendary musicians had something real punk to them: Gallaghers against the americanisation of the world, Green Day rocked with American Idiot and Arctic Monkeys doing anything against the music industry rules while doing anti capitalism thing

What do Sam or that little indie band have? Sam is this kind of a person to say 'fuck the rich' but what does he do to fuck them except for getting cash back for his social/political lyrics because I've never seen him using his platform properly (and I say that as a fan of his music), same goes for Catfish and the bottleman

But you know what really punk is? The oldest exmember of a boysband finding his identity after writing some of the best delling pop music, getting organic growth, having sold out tour and a guiness record to his name despite all the blacklisting and disrespect from both mainstream and 'indie' media

And.

Getting back to his roots. Supporting his home town. Encouraging his fans to support the most vulnerable people and hungry children. Condemning greed and excess. Giving to charity himself. Setting a world record for livestream sales and donating all the proceeds. Showing his displeasure with the British class system and the institution of monarchy— not once, but over and over.

Punk is sharing a tour bus with all the band members, traveling together with them for seven months, highlighting them in his concerts, partying with them afterward, taking them on outings, paying for first class hotels and private planes.

Punk is including your make up artist, your photographer, your stylist, and your security guards like they’re your family. Going to events that are milestones for them, like their weddings, as a friend of the family and not a celebrity. Punk is hyping up other musicians that are breaking into music, not asking other famous celebs to plug your music. Punk is sharing tattoos with your crew to make a memory. Punk is getting into the barricade to let fans know that you are human, you are on their level.

Punk is street fashion, the avant-garde, the graffiti inspos, the fashion intellectuals, celebrating international talent, the homage to punk history.

Punk is understanding that principles matter even if you become the establishment, that chasing money and fame should always, in some way, feel uncomfortable.

[providnce]

hii!! i consider myself a independent catb fan since i got into then in 2019 and i obsessed over the songs and lyrics and stuff but never actually got to the fandom? like never knew the fan side of things just the surface level (i was the obsessed and totally into the fandom from another group so i stayed at my comfort zone haha)

with that being said!! im here to ask you kindly if you could tell what happened between them? like what the fans knows with details because i only know the facts about the show being canceled, bob, benji and bondy left and they unfollowed/blocked van but since i was looking around those days i've seen memes and stuff and a few things i missed out and i wanted to understand :(( if its too much to ask like too much work for you its okay!! but i think it would help other people who feel a little lost about everything as well :)

thank you in advance!

hello lovely, and welcome, we're glad to have you here! might i ask which band you were obsessed with instead? and i can definitely understand, i was actually the same way before i actually got involved in the fandom over the summer. c:

and yeah, I can give a quick rundown! i don’t think there’s an official post detailing what went on since lockdown, so here we have:

A (brief) Summary of CaTB’s Decline

Silence from the band once the pandemic hit. Lack of communication ever since has gotten fans quite frustrated, and remains so today. Since March 2020.

A fan noticed that Bondy, Bob, and Benji resigned on Companies House, which made the fandom wonder if the band had split. March 2021.

Catfish play Reading + Leeds Festival, collectively relieving everyone that they were there. August 2021.

However, Bob announces his departure a month after R+L on Instagram. He’s been working on his own music ever since. September 2021.

Bondy’s friend releases the Hide and Speak podcast, with him as a guest. More speculation on him leaving the band as he’d exclusively used past tense when speaking about his time in Catfish, along with a few statements he made towards the end that people interpreted as slating Van. December 2021.

Unfollowing commences. The fandom freaks out upon seeing Van’s following count go down, thinking he’s been active on IG. Chaos. Turns out, it was simply Catfish’s ex-tour manager Steve removing him as a follower. Later on, Bondy seems to unfollow Van and Larry, with rumours that he’s even gone as far as blocking both of them. Odd since Van hadn’t been on IG since 2017. Start of 2022.

^ As of today, Van follows Benji and Larry. Benji follows Van and Larry. Bondy only follows Bob. Bob only follows Bondy. Larry follows nobody.

Bondy got drunk on Tom Ungerer’s (bassist for Sam Fender) IG live, where he says he’s not fond of Van. When asked if Catfish were splitting up, he laughed, looked away, and said “I have no fucking idea, it’s got nothing to do with me.” Bondy also stated he’s working on new music, “trying to make music fun again, last time I was in Catfish and the Bottlemen, I was never allowed to make my own music.” With this live, Bondy had essentially confirmed he and Van have fallen out, and his creative freedom was limited when he was in the band. February 2022.

Larry logs onto social media for the first time in literal ages to unfollow everyone, and remove all his content. February 2022.

Catfish were supposed to open for Stereophonics in Cardiff in mid-June, but they pulled out two weeks prior due to unforeseen circumstances. June 2022.

More silence. Then, Bondy made his statement, confirming he officially left the band back in March 2021 and hasn’t had any affiliation with the band since, due to “reoccurring intolerable behaviour” within the band. This means he had stepped in as a session musician in the last 4 summer shows that Catfish had played. He also described relationships in the band as dysfunctional. Fans have taken this to be at the cause of Van, though there isn’t much clarification on whether this is true or not. Bob then came back on IG and blocked Van and Benji. June 2022.

Dave Sardy (producer for The Ride) posts photos in the studio, teasing possible new music from Van/Catfish by putting the Catfish hashtag in captions on IG. The fandom collectively exploded, again, and so we do every time he makes a post with Catfish in the caption. And every time he likes a comment asking for new music from Van. Since June 2022.

Now, to the present. Van’s disappeared off the face of the earth, the last time we saw him was 400+ days ago when Catfish played Neighbourhood Weekender 2021. Benji recently got engaged. We have snippets of Bondy and Bob (now Rob) working on new music.

in conclusion: rip catb lmfao

who knows wtf is happening with the band 😭

if i missed anything or got something wrong, feel free to add on! i have the memory of a goldfish, so thank you @icouldntfindquiet and @catb-fics for helping me put this together!

[deadcactuswalking]

REVIEWING THE CHARTS: 24/02/2024 (Dua Lipa, Djo, Calvin Harris/Rag'n'Bone Man)

Guess we know who’s winning the Civil War - Beyoncé’s “TEXAS HOLD ‘EM” usurps Vermont on the throne of the UK Singles Chart. Welcome back to REVIEWING THE CHARTS!

Rundown

It’s kind of calming to have a week where outside of some new entries, of which there are only a handful to begin with. So, as always, we start with the notable dropouts, which are songs exiting the UK Top 75 (what I cover) after five weeks in the region or a peak in the top 40. This week, we bid adieu to a small selection of songs but some of which are pretty important. Sure, I guess we can say good riddance to “MY EYES” by Travis Scott (featuring uncredited vocals from Justin Vernon of Bon Iver and Sampha) and “Body Moving”  by Eliza Rose and Calvin Harris without much fret, but we also see dropouts from the Barbie soundtrack with both “What Was I Made For?” by Billie Eilish and “Dance the Night” by Dua Lipa leaving, as well as Sam Fender’s “Seventeen Going Under” making yet another exit though I’m sure it’ll be back soon enough.

There isn’t much to speak of in our gains, either. The biggest story is probably our list of returns, since the new documentary, Bob Marley: One Love has people rediscovering the reggae legend’s catalogue. His greatest hits album is at #6 on the albums chart and two of his songs with the Wailers return to the top 75. Both songs peaked in 1980, with “Could You be Loved”, now at #51, peaking at #5 whilst Odyssey’s “Use it Up and Wear it Out” was #1 and “Three Little Birds”, now at #56, only peaking at #17, whilst “Don’t Stand So Close to Me” by The Police was #1. Marley would pass just one year after, of course, and it is pretty poetic to have his grandson in the top 10 right now, but just so this episode has some cool chart history trivia, how about we go through the several times these songs have charted? Different recordings of the two songs released in 1984 and 1985 peaked at #71 and #76 respectively. Joe Cocker’s cover of “Could You be Loved” peaked at #86 in 1997, and as far as I can find, no other covers of either song have charted, which kind of surprises me. After all, the latter was recently covered by Maroon 5, I figured they’d hitch a chart spot on name recognition but nope, not even a child singer Connie Talbot could do it in the talent show boom in the 2000s, so I guess Marley’s original really can’t be replaced.

As for the rest of our gains and returns, “Thank You (Not So Bad)” by way too many people who should know better is back at #73 and “Coal” by Dylan Gossett returns to #61. The gains include last week’s debuts, “Made for Me” by Muni Long and “Birds in the Sky” by NewEra at #48 and #44 respectively, “Lil Boo Thang” by the GOAT Paul Russell at #35 and, despite what the Official Charts Company would want you to believe, “Grey” by Yung Filly is at #33. There was an Aitch remix.

This week’s top 5 is actually pretty notable in terms of some shifting tides. We begin with ACR - search it up - striking Noah Kahan’s “Stick Season” down to #5, and then one of a few big debuts with Dua Lipa at #4 with “Training Season”, followed by gains for some white dudes making big moves: “Lose Control” by Teddy Swims at #3 and “Beautiful Things” by Benson Boone at #2, and finally, of course Queen Bey at the top. Now, we don’t have that wide of an array of new entries, or really, many at all, of which I’m pretty grateful for, so let’s zip through them.

New Entries

#66 - “Soaked” - Shy Smith

Produced by BeatBusta

Alright, I’ll bite… who the Hell is Shy Smith and why did they go with that… uncomfortable cover art? Well, this song is actually from 2021, and I assume through TikTok has gone viral, but this isn’t some indie artist as we typically see, this is a Canadian social media star, which makes this song seem a bit more like a joke. That’s a relief since despite being three years old, it sounds like Ciara made this in 2006 with the glassy synths, blocky Timbaland-esque production and squarrelling synth buzz, that is much more “in” now than it ever has been. Part of me understands completely therefore why this is charting now… but then another part of me doesn’t understand why this is charting at all. There’s really nothing to the stifled groove of the beat and it sounds like it actively strains Shy Smith to try having a personality. It’s so clearly going for semi-goofy seduction, but clawing actual intimacy out of this is as hard a job for me as it would have been for the vocal engineers, so I’m really not understanding this one.

#53 - “Whatever She Wants” - Bryson Tiller

Produced by TylianMTB

I always forget Bryson Tiller exists until he shows back up again, and I mean no offence by that as nothing has given me the impression that he’s not talented or a good person, but not a single song has clicked with me, despite having a lot of respect for his mostly singular lane and pioneering of the trap-soul sound. I can think of people who perhaps want to be Bryson Tiller, but I can’t figure out who Bryson Tiller wants to be other than, well, Bryson Tiller, and even if the music doesn’t resonate, I’m happy with that. Problem here is that he’s obviously trying to be Drake. He’s always been the easiest comparison to make with Tiller, but other than the more Detroit-influenced percussion, which really sounds like a typical trap rhythm with a Detroit choice of sounds more than anything, other than an elegant Orion Sum sample… this is just a Drake song. He goes for Drake flows, Drake melodies, even Drake’s uncomfortable whispery ad-libs. You could argue that the influence is mutual, but it is really difficult for me not to see a Drake fan taking the acapella, running it through a Drake voice AI and making something completely believable. Even the content is a slightly less embarrassing Drake riff, which just shows to me that he may be a unique singer, but not so much a rapper. Tylian’s beat is pretty good on this, I will admit, but I’m compelled by Mr. Tiller enough as a unique presence to care much about this. The train-like way the song keeps to an uptempo chug is actually pretty interesting though, it doesn’t feel like it ever wants to stop and take a breath, and Tiller does contribute to that, he’s not a total dud on his own song. He’s not really improving it either, though.

#19 - “Lovers in a Past Life” - Calvin Harris and Rag’n’Bone Man

Produced by Calvin Harris and watt

The petty part of me wants to say “2018 called” but this collaboration isn’t dated on arrival: Rag’n’Bone Man is another one of those artists I always forget about until they show up and I think this will just be a repeat of what I said about “Giant” all those years ago. He needs a rough layer of grit under him, not this flashy, sugary house track that he sticks out like a sore thumb over. Now it may not be dated on arrival but it is in execution: this is a tropical house song, and whilst Calvin Harris has always been good at mixing and making his stuff sound professional, this actually detracts from the character-void guitar and four-on-the-floor programming that all just feels rote. He even goes for an ATB-like guitar lick in the drop amidst the house pianos that just doesn’t sit well with me. I don’t dislike this - or at least not that much - I’m just confused by how either artist felt the need to make it, because it really does not work.

#11 - “End of Beginning” - Djo

Produced by Adam Thein and Djo

How do I even begin to pronounce that? Is he D-J-O, Duh-Joe, Joe, Sho? Oh, who am I kidding? It doesn’t matter, you know him as Joe Keery from Stranger Things. He was in a psychedelic band for a while but left and has solo work as a musician out now, with this taking from his second album and not actually released as a single, just a breakout solo hit. Is it good? Well, listen… I wish he knew he wanted Steve. The only buzz I had heard about this is that it sounded just like Mr. Lacy’s “Bad Habit” and well, I actively laughed when certain elements of the song came in because they hit nearly exactly the same way as in that song. This is most likely an influence and definitely not worth suing anyone over, but that’s primarily because neither song is any good. The lyrics are largely about his connection to his home city of Chicago as well as the acceleration of his acting career, making a point about how well, he’s still from Chicago! Whatever version you get of him, Chicago’s still in him. Yeah, it’s safe to say it doesn’t have the lyrical intricacies or at least, intriguing moments, that “Bad Habit” does, or even, and it pains me to say this, its sonic depth, so surely I should like this even less? Well, no. Djo Mama’s voice is a lot less pursuant and awkward than Steve Lacy, who also came up with some actual earworms that I respect but never want to hear again, whilst Djo here is just yapping over some synthpop. Which is fine. Have your fun. My opinion doesn’t matter at the end of the day. Just… maybe make acting a priority.

#4 - “Training Season” - Dua Lipa

Produced by Kevin Parker

I wish Dua found an interesting way to be good. This is a great, funky pop song, a worthwhile follow-up to “Houdini” with some excellent atmosphere mostly found in the dynamic mix that I’m sure Mr. Tame Impala had a lot of involvement with. It may not be a psychedelic song by nature, but there are transitory phases that absolutely show he was on the boards for. This feels like a sequel to “Houdini”, if that’s not already the intention, as Dua isn’t being the carefree love-them-and-leave-them anymore, she’s genuinely frustrated that she doesn’t have a more consistent and intimate relationship. She’s sick of being in control in these relationships - if they can be called such - and wants someone to go there, to actually mean something to her and put that effort in. Yet it doesn’t hit as much as I want it to… it may be the replacement of the rubbery bass from “Houdini” with a focus on soaring psychedelic synths and a guitar tone I’m not really big on in the chorus. Maybe it’s just that this funk-pop sound isn’t all that new and in that case, it’s impressive that Dua has made it this far without sounding boring.

Conclusion

With that said, she still obviously gets Best of the Week because good God, this was a mediocre set. Honourable and Dishonourable Mentions would be overly charitable probably, but I am going to give Bryson Tiller some benefit here, specifically because “Whatever She Wants” does have a decent instrumental, whilst Djo takes the Dishonourable Mention for “End of Beginning”, God, even the title is awkward. As for the worst, Shy Smith I think takes this handedly for “Soaked” but… will it even last a second week? I don’t know, it’s easily the least essential and least likely to last song that debuted. As for what’s on the horizon… I don’t know. Thank you for reading, rest in peace to Steve Wright and I’ll see you next week!

[alrightfender]

secrets out | sam fender social media au

summary: you and sam go public about your relationship

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liked by sam_fender and 1,180 others

yourusername “i’ll only have a couple of drinks” spoiler alert… a couple of drinks turned into a round of shots, 3 jäger bombs and 3 cocktails. i am now incredibly hungover and want to cry 🫠

view all 2,583 comments

heidi._.curtis drunk Y/N is my spirit animal

*liked by creator*

sam_fender doing karaoke with you was the highlight of my night 😉

-> yourusername round 2 sometime? 🥰

deanedwardthompson we need to do it again sometime! x

-> yourusername without a doubt ☺️ x

user3 anyone else here because of sam’s new post?

user4 hello

liked by dru_michael and 51,851 others

sam_fender ‘GET YOU DOWN’ NEW SINGLE.

TOMORROW 6PM @bbcradio1

📸 yourusername

view all 375 comments

deanedwardthompson 🔥🔥🔥

yourusername can’t wait!! xx

*liked by creator*

user1 SAM WHAT

user2 way to fucking surprise us sam 😭😭

liked by johnnybluehat and 53,826 others

sam_fender i am very fucked in this photo if you can’t tell 🙂 cheers for the photo yourusername

yourusername you going arse over in my back garden was a crease 😭

-> sam_fender no need to tell everyone darling

joeatkinsern before you all start.. i’m just as confused 😃

dru_michael hat looks a bit familiar

user6 Y/N WORE THE EXACT SAME HAT!!!!!!

user7 are they together lol

user8 girls and boys can be just friends you know

liked by sam_fender and 2,038 others

yourusername 🙃

sam_fender so this is why you were late 🤨

-> yourusername sorryyyyy xx

sam_fender 😍😍

*liked by creator*

heidi._.curtis marry me x

-> yourusername name the time and place x

liked by yourbestfriend and 18,027 others

yourusername @/sam_fender❤️

view all 648 comments

sam_fender ❤️

yourbestfriend treat her well fender x

-> sam_fender of course, she’s a special un x

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this was my first time writing something so i hope it’s okay! i’ll be posting a couple of times every week so feel free to send me requests either social media type or normal type fics!! 🫶🏻

[stellatekintsugi]

Sam Fender

[jane-gunson123]

Shout out to my ex.

You and your band, Little Mix, perform your new debut song ‘Shout out to my ex’ at the Brits after seeing your ex boyfriend there. 

Main Masterlist 

Sam fender master list

2019 had been an absolute roller coaster to say the least, there had been many ups and downs in 12 months. Your band, Little mix had went on a world tour after releasing your most critically acclaimed album to date, performing in some of the most prestigious venues available before ending it in the utilita area in your beloved hometown of Newcastle. The success of your album had resulted in not only being nominated for 2 Brit awrds but also being asked to perform at the awards as well. This was definitely the better parts of your year. 

The less favourable moments of your year had been the very public and humiliating break up with your ex, Sam. You had been together since you were 19 and after a very rocky few months and a cheating scandal, on his part, published by The Sun you had decided to call it quits with your lover. 

At first you weren't sure how to live your adult life without him, after all it was something you had never had to do before but with your girls you began to put the pieces of your heart that Sam had broke back together. 

The first step and arguably the hardest had been moving from you shared flat in Whitley Bay that the pair of you had bought at 21 after Little Mix had won the X-Factor and Sam had signed his first record deal and into a brand new apartment with your best friend and fellow band member, Jade, in Manchester. 

 Next, was you deleting all off pictures of him you had. Weather they were on one of your social medias or just our camera roll. After that, you blocked him and cut off all contact with him and his family. You knew deep down that you would have ran back to him in a heartbeat if he ask and you couldn’t do that. You need to heal and you can’t heal while touching the same flame that has already burnt you. 

As luck would have it, however, your tactics of avoidance might not be able to continue for much longer and in a few short hours you and your band would be performing at the brits with yours and Perrie’s exs in the crowd.  The most fitting part would be the song you would be performing, A shout out to my ex. 

You had written the song when Perrie had went through her break up about a year earlier than you but as your own relationship fell apart you found your self relating to the lyrics more than ever.

You thought that you would be more nervous about the potential of bumping into your ex and having to perform in front of him but you weren't really fazed by it all. Cameras flashed and interviewers pulled you and the girls over to answer questions but you had yet to bump into Sam. 

The feeling of getting ready to go out and perform in front of a large crowd was one no matter how many time you had done it you hated. It always wore off as soon as the music started to blast out of the speakers and that was still the case now. the opening melody made its way into your ears as you scanned the crowd, catching that blue pair of eyes you had spent many nights staring into discussing your future. Never did you quite imagine it ending like this though.   

Jade and Perrie had sung their parts now it was your turn. At this point all five off you had disappeared into crowd, dancing around the tables filled with familiar faces in the music industry.  For some reason the table with your ex and his band had been alluring and you ended up directly in front off Sam’s seat as your verse began. 

“Oh, I deleted all your pics,” You sang staring Sam in his eyes, reaching out to put your hand under his chin to force him to keep looking at you. It didnt take long for you to have his full attention, “Then blocked your number from my phone, mm.” 

Putting your hand back down by your side as you leaned closer into Sam's face as if you were going in to kiss him, “ Yeah, yeah, you took all you could get But you ain't gettin' this love no more.” Sam’s face was an absolute picture as you swerved your head around his after finishing your lyric, leaving him high and dry. He had fully expected you to kiss him at some point but had been left disappointed. 

His band mate and best friend Drew, however, had found a lot of amusement in your tormenting of Sam. As you walked away you heard him shout, “Go on lass.”  

The song had finished faster than you would have like and so did the rest off the awards. The band had won the two they were nominated for and Sam had also won the one he was up for before performing Dead boys, a song about male suicide in remembrance of your late friend who had lost his battle with depression some years back in your early twenties.   

Little did you know at the time that your little stunt to wind up your ex would not only become viral overnight but also be responsible for elevating yours and Sam’s careers. It would first result in an appearances on Loose Women and The Jonathan Ross Show where you would admit to having consumed a bit of liquid courage before stepping on stage. 

So in all it wasn't a bad end to to a roller coaster of year but nothing could have prepared you or anyone for that matter for the absolute train wreck that 2020 would be.  

[womanexile]

forbes. com/sites/stevebaltin/2019/09/08/qa-louis-tomlinson-on-kill-my-mind-taylor-swift-oasis-and-more/?sh=2a31bcb02996

"Baltin: What would be the coolest thing you could hear someone say about these songs you turned them on to?

Tomlinson: For me, I'm big on lyrics and I suppose that's why I mentioned Sam Fender, I think he is a fantastic lyricist. And if there's a song or a lyric or something that I resonate with and then I get feedback from the fans that they also like that, it makes us feel even more connected and even more on the same page. And social media in general, obviously that is a massive conversation and there are of course pros and cons and everyone can be on social media less. But the amazing thing for me is it gives me a chance to have a real, genuine, direct relationship with my fans. I know that I wouldn't feel as close to my fans without social media. What is great when Taylor Swift, and she is f**king amazing with her fans, does these listening parties and brings fans to the house, the involvement of the fans is never ending. Nobody knows better than these people. So I'm always looking for clever and different ways to involve them and feel like they're included in the whole creative."

Aww I love Louis. You know he’s telling the truth cause Louis doesn’t bs

[pop-punklouis]

some artists such as Harry, Louis, Miley, Green Day, Coldplay, Kendrick really seem to like doing live concerts, interact with the public, perform, feel the energy. although i'm seeing more and more artists with social anxiety about performing like Zayn, Justin B, Shawn, Sam Fender, Ariana.. and while I agree that covid made things hard for so many I wonder if there's another reason. do you think a concert makes them feel more vulnerable by being more themselves than their images? maybe they feel more pressure nowadays cause concerts became the biggest source of income for musicians? or just, fortunately, the mental health debate is taken more serious these days and their feelings are taken in consideration much more than before? it's interesting how something that it's the absolute favorite part of the job for some can be the nightmare for others

i think you bring up a lot of good points about the shift. i generally agree that i do believe it’s a myriad of things, but regarding the mental health side of it, it feels with the rise of social media and fan/artist relationship and the thin veil instead of the curtain that presides over large parts of the industry now…. that it isn’t as easy and simple to brush away an artist’s concerns and mental anguish about touring or just being in a demanding career dynamic like it used to by record labels and management companies. there’s also a lot more public outlets and readily known sources for help that many artists were isolated from or didn’t know about in the vein of pressure to make money and churn out product previously. not saying those things don’t still happen (because they do…. a lot) but sometimes i think about the shift of commercialism and consumerism in relation to entertainment and how certain artists are allowed more flexibility than they ever would’ve before with their careers and mental (even physical) struggles. thinking about how the backstreet boys were forced to tour even when brian had to have open heart surgery. thinking about how much damage was done to britney spears as she quickly became a plastic product to the industry instead of a human being. thinking about how many artists lives would’ve been different and altered if they were given the compassion and humanity for things like touring etc. yet, it’s still heartbreaking that even though many artists have more say and presence in their careers now, others still don’t when it comes to demanding dynamics in their image/work.

[berlinini]

Ugh, I have been waiting for people to bring up Sam Fender's silence! He's so woobied. He was literally on vacation getting trashed when "kids in Gaza are being bombed." His social media, even promotion, has been so sparce this year. I wonder if his silence has something to do with his Adidas contract. He literally could just repost aid links. The barest of minimums. Not even spotted at any of the rallies in London. This, D*pp, Raya...he's become just another white guy rocker. Disappointed again.

Oh, I had forgotten the Depp thing. Omg.

I think he's trying to get in the big leagues (break in the US market) and that comes with strings attached.

I know he's been struggling physically and mentally and navigating fame etc, so I'm sympathetic but I have been disappointed (or mostly just disinterested) for a while.

Still curious to see how the promo for his next album will be.

[seventeengoingunder]

As always when i consume a music related piece of media that makes me Think I am going to ask your opinion... if you find the time to read the Yungblud Rolling Stone cover story, what are your thoughts on it? Specifically the way he talks about himself vs. "great musicians"

The most succinct way I can describe my thoughts is that I am confused.

From what I gather, he's saying that he's more concerned with the message itself than how to present and word it. Which makes sense if you don't think about it too hard. Then you consider the fact that he's a musician who cares about the message of the music, but not…. the music? And my question is, why make music and not just simply be an influencer then? Which makes me feel like I'm reading this in bad faith, and I'm not trying to but I'm struggling to understand what he's actually getting at. I would understand if he said that he cares about the message and not how to promote the music. He seems to be very involved with the promotion though? I don't know. Moving on to the great musicians section!

“I look at truly great British artists like Amy Winehouse or Arctic Monkeys or Sam Fender, they have their critically acclaimed albums on [album] one or two or three. I am not like them, I will never be like them. My masterpiece is not Back to Black or Whatever People Say I Am, That’s What I’m Not.It’s a 35-year career of making other people feel like they can express themselves. They are about the music; I am about the fucking people.”

I would somewhat understand what he's trying to get at if he only mentioned Arctic Monkeys. They don't have a core message, their music is not deeply or obviously political, they're not social media people so someone who is very wrapped up in TikTok trends and the like seeing them as unapproachable/not involved with their fans makes sense. They are about the music; I am about the fucking people. Okay. Sure. (bringing up AM as an album instead of you know. the one with When the Sun Goes Down would make more sense here but whatever floats his boat).

Saying that you're different from Sam Fender because you care about the people on the other hand. I mean. I don't have an explanation for that one. Amy is also a confusing mention to me. There are artist you could list here and have them make sense because they're known as being stuck-up and rude. This lineup is baffling.

I guess what he's trying to say is that he doesn't care about critical acclaim and awards but about people liking the music and finding comfort in it. That was a weird and long-winded way of saying that, and I don't think it separates him from other artists. But reading it as great albums instead of critically acclaimed albums would mean he doesn't think he'll ever make a great album. I would assume he doesn't think his music is bad? As I said. Confused.

[releaseholiday]

Honestly Louis Team they have reached d peak of how they can help Louis and i feel Louis really needs to reevaluate his team. He needs a diverse set of people who can offer him some thing new like a different strategy , new outlook etc. he has worked with his current team for years and years and they just keep giving him the same stuff and its hurting him alot and would continue to hurt him a whole lot more in d long run.

This new era alone really called for an outfit change to match his punk era

This radio interviews make nonsense he shouldn’t be focusing so much on radios and rather focus more on Social Media

And honestly i hate all the fucking 1D questions they keep asking him

Jeeez it is really frustrating.

100000% agree. On everything. They’re trying to do the same stuff that’s worked years ago but the world has changed. Even tik tok lol I know Louis doesn’t like it but it’s silly not to take advantage of that. This platform, whether people like it or not, has become very important for music. Look at Sam Smith and the way the snippet from their song blew up. Look at Olivia Rodrigo who literally has a huge career rn bc of it. Even Louis’ beloved Sam Fender is using it. Louis’ social media presence is basically non existent and it’s so stupid bc he can get people talking with just one pic or a video from the studio or something and they don’t use it. The “how are you doing” tweets and the q&a spree became repetitive, and they’re not even doing that now. It’s like he wants the success (and don’t tell me he doesn’t bc he wouldn’t be on this press tour doing 1284 radio and tv interviews if he didn’t lol every musician wants success, it’s okay to admit) but he refuses to play the celebrity game that’s relevant now. And idk maybe it’s his team who’s advising him to do all this, but if that’s the case he should know better.

[slutforsfender]

Hi I don’t know if you just do Sam fender but if you can maybe can you do one for Drew and the reader could like meet him through Sam and they both really like each other and start dating or something like that, if not that’s completely fine ❤️

Mutual Friends - Drew Michaels

Drew Michaels x Reader

You had met Sam quite a while ago through an old friend who you grew up with. You instantly got on and he even asked you to be his photographer for his upcoming UK tour.

Today was the day where you were taking all the promo pictures for the tour to be posted on social medias.

You got ready quite quick, not really being too bothered about what you were wearing as you were spending a whole day behind the camera.

You grabbed all your things before starting the car journey to the place where you were taking pictures most of today.

You arrived a while later and made sure you had everything before heading inside.

"Aye here she is, lads this is y/n" Sam quickly noticed you as you walked into the room, they were all hanging about before introducing you.

You greeted Sam with a hug before all the others did the same with you.

You quickly got started with the shoot, doing a few with just Sam in various outfits and him doing whatever he felt like doing.

As a photographer you never tried to force people into poses, you always let them do whatever was natural to them because they always turned out a lot better. You did the same with Sam which of course ended up with Sam letting his adhd brain take control even ripping up a poster once or twice.

All throughout the shoot, you could feel eyes burning into you but brushed it off as you lifted the camera to your eye.

You took a little break before starting the shots of Sam and the band. You had propped yourself onto a nearby table, looking through the photos while the lads messed around.

"Thought you might fancy a cuppa lass" Sam greeted you before passing you a tea.

"Aye cheers" you give him a small smile before taking a sip.

"I think one of my mates might have taken a liking to ya" he said nonchalantly while nodding his head towards his drummer sat in the corner, staring at you and Sam.

You look over and he quickly turns his head away as a blush crept onto his cheeks.

You just chuckle a little, a little bit of you finding yourself happy.

"I can see it. You and Drew, you'd be alreet together" he said with a light smirk on his lips.

"As if lad, we've only just met" you say, giving him a look as if he's crazy.

Secretly you thought he was actually quite cute and wanted to get to know him but didn't know how, you weren't exactly a social butterfly.

"Yanno this shoot finishes soon and I was going to ask you to join me, and lads out tonight but why don't you go and ask our Drew out for lunch after this and I'll leave it up to him to ask you out tonight" he said, before leaving to go over to his mates.

You sigh and down your cuppa before building up the courage to go ask Drew.

As soon as you walked over all the other lads went to go get ready, leaving you and Drew alone.

"So, I'm not exactly great at this but Sam has got this little idea in his that you have taken a liking to me so erm do you want to go out for lunch after this" you ask, your nerves evident in your voice.

"Aye I'd absolutely love that, there's a café nearby if ya fancy it" he says, a wide grin on his face which calms you down.

You nod before walking to fetch your camera and beginning the rest of the shoot.

Throughout the group shots, Drew sends you little winks here and there which of course Sam notices giving you a smirk before announcing it to the rest of the lads.

You laugh and brush it off before telling them to get back to what they were doing on their instruments.

The shoot soon finishes and Drew waits for you to have everything before making your way to down the café together.

You have a great lunch together, laughing and non-stop talking. He even asks you out for a night out with him and lads which Sam had mentioned earlier.

You quickly got together officially a few weeks later after lots of time together.

(I know this is a bit shit but I hope you still like it)