Newcastle’s own Geordie guitar hero, Sam Fender, launched his highly anticipated People Watching Stadium Tour in a sold-out London Stadium, delivering a performance that underscores his status as one of the UK’s most compelling live acts.
For the North Shields native, his triumphant return to the capital signalled yet another major step forward in a career that’s quickly becoming a standout success story. Taking the Jubilee Line up to Stratford served as a fitting metaphor for the occasion: passing North Greenwich and the O2 Arena, a venue Fender had previously conquered with ease on numerous occasions, and heading further north to the London Stadium, a venue often dubbed as The World’s Stage. It’s a milestone few artists ever reach. Waves of fans paraded through Westfield Shopping Centre, proudly sporting Newcastle United jerseys and People Watching tour merchandise, their excitement and anticipation hanging thick in the air. Given the scale of the night, the stage would be shared with two stellar opening acts: Irish country singer-songwriter CMAT and the soulful powerhouse Olivia Dean.
Dublin’s own country-pop maverick CMAT settled onto the stage just after 6 pm, delivering a lively showcase packed with fan favourites and playful charm. Tracks like I Don’t Really Care for You, Running/Planning, and the unreleased The Jamie Oliver Petrol Station, kept the crowd bopping along as they continued to inhale their pints. A highlight came during the closing number, Stay for Something, as she led the audience in a cheerful two-step that created a shared moment of joy that’ll surely be cherished for years to come.
By half-past seven, Olivia Dean made her entrance to a wash of pink, draped curtains, and a smooth brass instrumentation alongside her band. She immediately raised the bar with her signature blend of neo-soul & R&B, and had the crowd singing along to opener OK, Love You, Bye instantly. Her set was elegant and effortless, featuring standouts such as Time, Ladies Room, and It Isn’t Perfect, But It Might Be. The latter, a highlight from the latest Bridget Jones movie, was a clear hit with the swelling audience. Dean’s vocals were flawless throughout, and her poised stage presence brought a layer of sophistication and prestige to the evening. As the Stadium neared its capacity for the night, she closed with Dive, leaving the crowd perfectly primed for the anthemic heartland rock of Newcastle’s finest musical export.
Over the next two hours, Fender would prove why he is one of the finest rock acts of his generation. Just before 9 pm, the soaring instrumental of Going Home: Theme of the Local Hero signalled his arrival, as he and his band took the stage to a deafening reception from a packed London Stadium. Few artists can afford to open with some of their biggest hits and still have other heavy-hitters spare, but he pulled it off effortlessly. The set burst into life with Getting Started, triggering a stadium-wide eruption of energy, punctuated by a dazzling ring of fireworks that lit up the evening sky. From that point on, there was no let-up. He tore through fan favourites like Will We Talk? and Arm’s Length early on, stringed together with The Borders, which had London roaring back every word and swept up in the elated gravity of the evening. The latter song was also made even more special, as Fender welcomed 16-year-old Charlie up onstage to play the acoustic guitar: it was a moment met with heartfelt cheers and one that didn’t disappoint. The emotionally charged Dead Boys brought a poignant pause, as the crowd belted the lyrics with raw intensity. Remarkably, only five songs in, it felt like we’d already been on a journey; a testament to his commanding presence and uplifting pull of his music.
Fender’s staggering range as a musician was on full display throughout the night, giving rise to those brilliantly untamed moments that fans live for; none more so than Howden Aldi Death Queue. Known for igniting mosh pits and stirring up a glorious chaos, the song didn’t quite unleash its usual mayhem in London this time, but the thunderous pyro display during its extended outro ensured it still landed with impact. Crumbling Empire and B-side gem Tyrants followed, the latter turning up the heat and intensity as bursts of flames lit up the stadium with every chorus.
The evening reached a new heartfelt high with the live debut of Rein Me In, a standout from his latest album. Adding to the magic, Olivia Dean returned to the stage to perform a newly written verse alongside him; it was a sublime vocal pairing that left the crowd breathless. The performance was met with rapturous applause, and like many in the audience, I’m hoping this version finds its way onto streaming platforms soon.
The title track of the latest record, People Watching, was greeted with warmth and embraced like a cherished Fender classic. The stadium erupted once again as thousands shouted back the now-iconic line “I people watch on the way back home,” nearly drowning out the singer himself in a breathtaking, communal moment. The song has already cemented itself as a staple in his ever-expanding catalogue of universal bangers. In a nod to punk history, he once again covered London Calling by The Clash, a tribute that gave bandmates Deano and Joe the spotlight, echoing their performance from his December shows in London last year. It was a nostalgic surprise that delighted longtime fans and newcomers alike, bridging generations through shared passion and raw energy.
Johnny ‘Blue Hat’ Davis delivered impeccable saxophone solos during Get You Down, sparking a wave of animation across the stadium and adding an extra layer of brilliance to the number. Fender shifted the mood with Spit of You, a tender, introspective moment that saw thousands of torchlights held aloft, casting a soft glow and creating a rare sense of intimacy in the vast stadium. He closed out this part of the set with Seventeen Going Under, the emphatic title track of his acclaimed 2021 record. The response was electric, a euphoric chorus of voices belting every word, as London flared in a unified delirium. Even as Fender left the stage, the familiar chant of “Woah-oh-ohhhh-ohh-oh-oh” from the beloved anthem continued to echo through the stands, refusing to fade.
As far as encores go, I’ve not seen a better one than this. Fender returned to the stage alongside Easington Colliery Brass Band for the tour debut of Remember My Name, a deeply personal tribute to his late grandparents that struck a chord with fans since its release. The performance was nothing short of sentimental; for the first time all night, the stadium fell to complete silence, each lyric landing with profound weight. I wasn’t alone in wiping away tears; the emotional connection was undeniable and universal. Fender carried that moment seamlessly into The Dying Light, delivering it with raw sincerity as torchlights once again illuminated the stands. The song’s celebration of life built to a moving crescendo, as confetti rained over a visibly emotive crowd. It was a spectacular, almost cinematic moment that defined the evening.
As tradition dictates, the ever-relevant Hypersonic Missiles closed the show, and did so with explosive energy. The stadium entered a euphoric delirium for one final time, the feeling only the best performers can evoke from a single track. Confetti rained over the stadium once again as the climax hit, before a phenomenal firework display encircled the venue that was bursting with life. It was a finish only an artist at the peak of their powers could deliver; pure jubilation.
If Sam Fender’s monumental headline show at the London Stadium is any indication, this new chapter of his music career is propelling him into truly rarefied territory. The set was masterfully executed and marked a defining milestone in his rise. With yet another iconic London venue conquered and firmly under his belt, one question now lingers: How long until Newcastle’s guitar hero steps out under the Wembley Arch? At this rate, it feels not only possible, but inevitable.
