Post by Osmosis on May 7, 2022 18:15:18 GMT
Samuel Thomas Fender (25th April 1994 - Present)
Years Active: 2013 - Present
Vocal Range: F♯2 - F5
Voice Type: Seventeen Going Tenor
{Vocal Summary}
Sam Fender is an English singer-songwriter, who rose to prominence in 2019 with the release of his debut album, "Hypersonic Missiles" and mainstream success, with follow up “Seventeen Going Under”. A stream of consciousness indie rocker, Fender's lyricism reflects his working class, northern roots, using an emotive style of phrasing and instinctive dynamic decorum. A natural tenor, Sam's strongest point is his smooth high-belting, comparable perhaps to that of fellow geordie, Sting. Sam effortlessly carries this technique up to the top of the fourth octave on a regular basis, even displaying some agile moments in his mixed voice from C♯5-F5 in the closing sequence of "Saturday".
Not one to shy away from his native accent, Fender narrates his spaciously arranged tracks in his north-east accent, which only becomes more prominent in his hushed mid-range and lower register. Whilst his lows have been used quite sparingly thus far, largely confined to distant overdubs, Sam has shown a couple of lower lead vocal melodies on occasions, perhaps most notably the chanted B♭2s in "White Privilege", complete with a foreboding dropped-larynx placement of the Ian Curtis variety.
All in all, Sam Fender seems to have a great deal of potential as a vocalist, already having quite a recognisable voice and musical identity from his first two records. As he hones his craft and adds to his discography, I will be interested to see how his voice matures as an instrument, and how he expands upon this solid foundation.
Champion!
Written by clem.
Sam Fender is an English singer-songwriter, who rose to prominence in 2019 with the release of his debut album, "Hypersonic Missiles" and mainstream success, with follow up “Seventeen Going Under”. A stream of consciousness indie rocker, Fender's lyricism reflects his working class, northern roots, using an emotive style of phrasing and instinctive dynamic decorum. A natural tenor, Sam's strongest point is his smooth high-belting, comparable perhaps to that of fellow geordie, Sting. Sam effortlessly carries this technique up to the top of the fourth octave on a regular basis, even displaying some agile moments in his mixed voice from C♯5-F5 in the closing sequence of "Saturday".
Not one to shy away from his native accent, Fender narrates his spaciously arranged tracks in his north-east accent, which only becomes more prominent in his hushed mid-range and lower register. Whilst his lows have been used quite sparingly thus far, largely confined to distant overdubs, Sam has shown a couple of lower lead vocal melodies on occasions, perhaps most notably the chanted B♭2s in "White Privilege", complete with a foreboding dropped-larynx placement of the Ian Curtis variety.
All in all, Sam Fender seems to have a great deal of potential as a vocalist, already having quite a recognisable voice and musical identity from his first two records. As he hones his craft and adds to his discography, I will be interested to see how his voice matures as an instrument, and how he expands upon this solid foundation.
Champion!
Written by clem.
Significant High Notes
F5 ("Saturday")
D5 (“Alright”, “Aye”, "I'm Done" Live King Tuts Wah Wah Hut Glasgow 2014)
C♯5 ("Back in Black" Live St James Park Newcastle 2023, "Call Me Lover", "Friday Fighting", "Get There First" Live The Watch House Tynemouth 2013, "Greasy Spoon", “Homesick", "Howdon Aldi Death Queue”, "Play God", "Saturday", "Two People", "You're Not the Only One")
C5 ("Atlantic City" Live 5 Essential Tracks 2018, "I'm Done" Live King Tuts Wah Wah Hut Glasgow 2014, "Poundshop Kardashians", "Start Again", "The Borders", "Untitled" Live The Acorn Theatre Cornwall 2013, "Without Her” Dermot Kennedy Hamburg 2018)
B4 ("All Is on My Side”, “Aye”, “Better of Me”, “Break Up with Your Girlfriend ‘Cause I’m Bored" BBC Radio 1 Live Lounge 2019, “Call Me Lover", “Getting Started”, “Good Company”, “Howdon Aldi Death Queue”, "Hypersonic Missiles", “Long Way Off”, "Millennial", “Pretending That You’re Dead”, “Sad But True (Live)", "Teenage Dream/Dreams", "The Change” Live OMEARA London 2018, "Use", “Waiting for Love” Live Giel 2018, “Winter Song”)
B♭4 ("Alright”, "Back In Black" Live St James Park Newcastle 2023, "Back to Black” BBC Radio 1 Live Lounge 2020, “Better of Me”, “Born in the USA” Maida Vale Session, “Dancing In the Dark" Newcastle Arena 2021, "Dancing With a Stranger” BBC Radio 1 Live Lounge 2019, "Friday Fighting", "Greasy Spoon", "Homesick", "Iris", "Leave Fast", “Paradigms”, "Play God", "Sad But True (Live)", "Saturday", "Start Again", "That Sound", "The Borders", “The Dying Light”, "The Kitchen" Live Reading Festival 2023, "The Storm" Boardmasters 2017, "White Privilege", "Will We Talk?", "You're Not the Only One")
A4 ("All Is on My Side”, “Alright”, “Angel In Lothian”, "Atlantic City" Live 5 Essential Tracks 2018, "Back to Black” BBC Radio 1 Live Lounge 2020, “Break Up with Your Girlfriend ‘Cause I’m Bored" Live BBC Radio 1 Live Lounge 2019, “Dancing in the Dark” Live KROQ 2018, “Dead Boys", “Get You Down”, "Hypersonic Missiles", “I'm Done" Live King Tuts Wah Wah Hut Glasgow 2014, "Last To Make It Home”, "Poundshop Kardashians", “Pretending That You're Dead", “Spit of You”, “The Dying Light”, “The Modern Leper" Live TRNSMT 2023, "The Leveller”, "Two People", “Untitled" Live The Acorn Theatre Cornwall 2013, "Winter Song”)
G♯4 ("Aye”, "Back to Black” BBC Radio 1 Live Lounge 2020, “Born in the USA” Live Maida Vale Session, "Call Me Lover", “Dancing With a Stranger” BBC Radio 1 Live Lounge 2019, “Get There First" Live The Watch House Tynemouth 2013, "Getting Started”, "Greasy Spoon", “Hold Out”, “Homesick", "Howdon Aldi Queue”, "Hypersonic Missiles", "Leave Fast", “Long Way Off”, “Mantra”, "Millennial", “Paradigms”, “Poltergeists”, “Seventeen Going Under”, "Spice", “Spit of You”, "The Borders", “The Change” Live OMEARA London 2018, “The Kitchen” Live Virgin Money Unity Arena Newcastle 2020, "Untitled" Live The Acorn Theatre Cornwall 2013, "Use", “Waiting for Love” Giel 2018, White Privilege", “Without Her” Live Dermot Kennedy Hamburg 2018, "You Shook Me All Night Long" Live St James Park Newcastle 2023)
G4 (“All Is on My Side”, “Alright”, “Angel In Lothian”, “Dancing in the Dark” Various Live Performances, "The Borders", "Dead Boys", "Dead Boys (Prelude)", “Get You Down”, “I'm Done" Live King Tuts Wah Wah Hut Glasgow 2014, "Little Bull of Blithe", "Morning Glory" Live O2 Academy 2019, "Poundshop Kardashians", "Remember My Name" Live Prohibition Cabaret Bar Newcastle 2023, "Start Again", "That Sound", "The Dying Light", “The Leveller”)
Significant Low Notes
F3 ("Atlantic City" Live 5 Essential Tracks 2018, "Little Bull of Blithe", "Poundshop Kardashians", "Start Again", "That Sound", “The Dying Light”, "White Privilege", "Will We Talk?", “Without Her”)
E3 ("All Is on My Side”, “Break Up with Your Girlfriend ‘Cause I’m Bored" BBC Radio 1 Live Lounge 2019, “Hypersonic Missiles", “I'm On Fire" Live St James' Park Newcastle 2023, "Last to Make It Home”, "Leave Fast", “Spit of You”, “The Leveller”, "Use", “Waiting for Love” Live Giel 2018, “Winter Song”)
E♭3 (“Dancing With a Stranger” BBC Radio 1 Live Lounge 2019, "Friday Fighting", "Getting Started", "Greasy Spoon", "Leave Fast", "Remember My Name" Live Prohibition Cabaret Bar Newcastle 2023, "The Borders")
D3 ("Back to Black” BBC Radio 1 Live Lounge 2020, “Break Up with Your Girlfriend ‘Cause I’m Bored" BBC Radio 1 Live Lounge 2019, “Dead Boys", "The Frightened Leper" Live TRNSMT 2023)
C♯3 (“Better of Me”, "Homesick", "Hypersonic Missiles", “I'm On Fire" Live Alexandra Palace London 2021, "Iris", "Last to Make It Home”, “Long Way Off”, "Spice", “The Leveller”, "Use", "Will We Talk?")
C3 ("Poundshop Kardashians", ”The Dying Light”)
B2 ("All Is on My Side”, “Call Me Lover", "Hypersonic Missiles", “Long Way Off”, "Spice", “Winter Song”)
B♭2 ("Friday Fighting", "Greasy Spoon", "Play God", "That Sound", “The Dying Light”, "White Privilege")
A2 (“Last to Make It Home" Live Trinity Centre Bristol 2022, "Spit of You”, “The Leveller”)
G♯2 (“Homesick", "Long Way Off”, "Will We Talk?", "You're Not the Only One")
F♯2 ("Friday Fighting")
{Questionable Notes}
D5 ("Two People"[1a])
C♯5 ("Born In the USA" Maida Vale Sessions [2a])
C3 ("Seventeen Going Under"[1b])
.......................................................
[1] Questionable Intent
a. Overshot Note
b. Aimless Low Range Slide
[2] Questionable Quality
a. Lacking sustain
Questionable notes are any notes with a questionable significance. In short, this spoiler acknowledges notes that I am aware exist, but do not want to contribute to the singer's range. These involve (but are not limited to) weak vocal fry, uncontrolled slides, very short notes, notes hit at an ambiguous pitch and notes where it is unclear who is singing.
.......................................................D5 ("Two People"[1a])
C♯5 ("Born In the USA" Maida Vale Sessions [2a])
C3 ("Seventeen Going Under"[1b])
.......................................................
[1] Questionable Intent
a. Overshot Note
b. Aimless Low Range Slide
[2] Questionable Quality
a. Lacking sustain
Questionable notes are any notes with a questionable significance. In short, this spoiler acknowledges notes that I am aware exist, but do not want to contribute to the singer's range. These involve (but are not limited to) weak vocal fry, uncontrolled slides, very short notes, notes hit at an ambiguous pitch and notes where it is unclear who is singing.
*Blue marks falsetto or whistle notes.
*Underlines mark notes that are obscured in the song mix.
*Italics mark non-melodic notes.
*Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.
{Album Ranges}
Dead Boys (EP) (2018): B♭2 - C3 - C5
Hypersonic Missiles (2019): G♯2 - B♭2 - F5
Seventeen Going Under (2021): G#2 – A2 – B4 – D5
Dead Boys (EP) (2018): B♭2 - C3 - C5
Hypersonic Missiles (2019): G♯2 - B♭2 - F5
Seventeen Going Under (2021): G#2 – A2 – B4 – D5
{Notewatched Material}
clem
Dead Boys (EP) (2018)
Hypersonic Missiles (2019)
Osmosis
Seventeen Going Under (2021)
Assorted covers, singles, and unreleased material (2014 – 2023)
clem
Dead Boys (EP) (2018)
Hypersonic Missiles (2019)
Osmosis
Seventeen Going Under (2021)
Assorted covers, singles, and unreleased material (2014 – 2023)
Maybe just leave it the way it is.