The rise of this North Shields lad has been nothing short of extraordinary.
From supporting Vant in 2017 at the now-closed Fibbers in York to playing Leeds’ first direct arena in front of a crowd of 13,000, Sam Fender’s journey is nothing short of remarkable.
What once felt like witnessing the birth of local talent has transformed into celebrating a fully-fledged icon of British music.
Kicking off the evening was Wunderhorse, a band currently riding high on a wave of critical and fan acclaim. With their latest album Midas making serious noise and a year packed with high-profile gigs - including supporting Fontaines D.C. around Europe and their own headline shows - it’s no surprise that their live performance was nothing short of captivating.
Image: The Hoot Leeds
Wunderhorse brought raw energy and undeniable charisma, proving why they’re hailed as one of the most exciting bands of the moment. Their mix of intricate melodies and thundering riffs warmed up the crowd perfectly, leaving the audience buzzing for what was to follow.
As the lights dimmed and the roar of the crowd filled the arena, Fender took to the stage with The Kitchen, igniting an immediate connection with the audience. His ability to balance stadium-worthy anthems with moments of intimate storytelling is what makes him such a standout artist. The set was a masterclass in emotional highs and lows, blending his sharp social commentary with heartfelt personal reflections.
Image: The Hoot Leeds
The setlist consisted of some all time classics, alongside his latest releases, both Wild Long Lie, and People Watching, teasing fans to the sounds of the newest Fender album which is set to be released in February.
Tracks like ‘Seventeen Going Under’ brought a collective catharsis to the crowd, with fans screaming every word back at him, while ‘Spit Of You’ delivered a poignant moment of reflection on mental health - a topic that Fender continues to address with unflinching honesty.
One of the standout moments of the night was The Dying Light, which fans were elated to see back on the setlist. Fender’s raw vocals and stripped-back arrangement filled the first direct arena with tear-jerking intimacy, a reminder that despite his rise, he’s never lost the heart and vulnerability that first drew fans to his music.
Drawing the night to a close, Sam told the crowd for these next two songs they might want to have a bit of a mosh pit, urging fans to take care of one another. The riff for Spice then kicked in, which saw the entire arena on its feet, bouncing in unison as Fender’s band delivered a flawless performance. The crowd didn’t even have a chance to catch a breath before ‘Howdon Aldi Death Queue’ turned the crowd into an ecstatic frenzy of people belting the lyrics and emulating the sirens heard in the song.
For the encore the unmistakable opening chant of Hypersonic Missiles echoed throughout the room, leaving the crowd roaring the lyrics long after the show had finished, all the way down to Leeds train station.
It was a fitting finale to a show that felt both triumphant and deeply personal. Fender’s gratitude was evident throughout, and his heartfelt thanks to the fans who have supported him from tiny venues to arenas like this only cemented his status as one of the most relatable artists of his generation.
Image: The Hoot Leeds
It’s almost impossible to reconcile the young artist who played for a handful of people in Fibbers with the confident performer who commanded every inch of the first direct arena’s stage. Yet, the essence of Sam Fender remains the same: a working-class storyteller with a knack for writing songs that resonate across generations.
Leeds was treated to an unforgettable night, showcasing Fender’s ability to make even the largest spaces feel intimate. If this show is anything to go by, the next chapter in his career will only take him to greater heights.
One of Britain's best performed to a pack-out crowd at Leeds' historic Kirkstall Abbey.
If there was ever a venue designed to make you feel like you've accidentally wandered into the coolest history lesson of your life, it's Kirkstall Abbey.
Ancient ruins, blazing sunshine, pints in plastic cups and thousands of people flocking for the one and only Loyle Carner? Not a bad way to spend a Saturday we think.
And it wasn't just Loyle who we were treated to either, the entire day as part of Above All Else Festival saw a bill of groove-fuelled acts take to the stage.
Bricknasty, Kofi Stone, Kokoroko and Jordan Rakei delivered fabulous sets and warmed us up very nicely indeed for the man himself.
Fresh from the release of Hopefully!, Carner arrived to deafening cheers, wasting little time before settling into the laid-back confidence that has become his trademark.
And he didn't waste time getting into his catalogue of hits either as he seamlessly transitioned from one banger to the next.
It really felt like a celebration of his work, and he himself welled up at the sea of people singing his songs back to him over and over again.
Of course, highlights included Loose Ends and Ottolenghi but dedicating Hate to Nigel Farage was nothing short of iconic.
This is a rapper that has executed the delivery between syncopation and rhythm perfectly, but it's his lyrics that keep you going back for more.
Of course Kirkstall Abbey itself deserves plenty of credit, as the sun went down the abbey was lit up and created probably the most cinematic backdrop for a gig you can imagine.
What stood out most, though, was the atmosphere. There was a proper sense of community throughout the evening, with strangers dancing together and friends rapping every word arm in arm.
Loyle Carner has long been regarded as one of Britain's most thoughtful voices in hip-hop, but nights like this show why his appeal stretches far beyond the genre.
What's next for Loyle Carner? We're not sure, but we feel very lucky to have shared this moment with him, and you could tell he did too.
The Maccabees at Kirkstall Abbey – musical reunion of the decade?
Daisy Jackson
When bands reunite, it's usually pretty easy to guess what the motive is. A looming tax bill, an incoming divorce, a tanking solo career, for example.
But with The Maccabees, those scenarios feel a long way removed.
This is a band that called it a day at the top of their game - and then have returned even stronger, and seemingly because they just missed being on stage together.
Addressing the near-decade apart while on stage at Kirkstall Abbey, The Maccabees frontman Orlando Weeks sums it up simply: "For a long time we were a band, and then we weren't a band for a bit, and now we're a band again."
He's as softly-spoken a frontman as they come, but then The Maccabees never have leaned entirely on their frontman for their live energy - not when he's flanked by the White brothers.
Felix White spends half the gig sporting an ear-splitting grin, and the other half screaming words of encouragement at the audience like a crazed Top of the Pops presenter. The organised-fun patter might grate if he weren't so phenomenal the moment the music starts again.
Then brother Hugo is a brooding, powerful figure, usually standing with his legs so wide apart I'm surprised he doesn't split his trousers. His stage presence is so cool, so confident, it's hard to take your eyes off him.
Orlando's otherworldly voice is really allowed to shine through with songs like Spit It Out, when the stage reduces to a single spotlight and the other band members actually squat down to minimise the distractions.
The tempo shifts of Marks to Prove It, the urgency of X-Ray and the layered beauty of Wall of Arms all underline just how tightly the band play together.
There will be new music on the way, eventually, and they give us a glimpse into that with The Ballad of So Long, a swooping epic that suggests they still have somewhere new to go.
It's hard to complain that they don't have much more to show us yet - not when the alternative is a greatest hits, belt-every-word live show.
By the end of the night, as The Maccabees wrap up their show at Kirkstall Abbey, there's a quiet confidence about them. They know this comeback works, and we'll be lapping it up for as long as they'll stick around.
Judging by the reaction inside Kirkstall Abbey, everyone else does too.
Emily Johnson -
5th December 2024 
