A Quote by Sam Fender

I don't trust songs that can be played at a kid's party and a club at the same time. I just don't think it's right. There's something reptilian about that. — © Sam Fender
I don't trust songs that can be played at a kid's party and a club at the same time. I just don't think it's right. There's something reptilian about that.
Here in America we have a man [Donald Trump] who is a master of a medium that is all about self-aggrandizement and/or cruelty to others. I have been off Twitter lately because I had this sudden sort of feeling of, this man is the president of this club and it's not a club that I want to be in. Sometimes I feel like, well, perhaps it's not right because as a political activist, this is where politics is happening right now. This is where the conversation is going on, but at the same time, I think there is something corrosive about it.
I think the Democratic Party is firmly in the wilderness right now and doesn't know exactly what to do. We talk about trust. Fundamentally, the American people have lost a lot of trust in both parties, but in particular, my party. Growing trust is a very simple calculation: People want to know what your values are, and they watch your behaviors. If your behaviors align with your values, then they trust you. If you say I'm for the people, but we're just as bought off as the other party, or we say we're for fairness, but we gerrymander just like the other side, people see.
There's a unique component of music that is different from, the written pamphlet or a speech. There's something, when you get the right combination of rhythm, melody and the right lyrical couplet, that feels like truth in the reptilian brain. There's something hardwired in our D.N.A.. And when you get a large group of people singing together in solidarity, it's something that, in my experience, and I've played countless demonstrations and protests through the years, it's something that can really help a struggle.
I used to write songs that mimicked other songs that I would hear as a kid, cos I was 12 years old when I was writing those, right. And you hear a radio so all I'd write about was [sings] "hey girl, look at you", you know what I mean. I think that even doing that made it easier for me to write non-personal songs because, from a kid, I never wrote personal songs, they were always like mimicking. And now I'm just trying to understand my writing and where it's coming from.
Our aim is to establish El Cartel as not just another tequila but part of the club and party lifestyle. There are several songs where I mention the brand name, and a lot of these party songs go hand in hand with the concept of Cartel Tequila.
In all honesty, I think I just played what I felt was right for me. And I think I would have done the same thing, even if I'd been born later, when Charlie Parker was influencing everybody. The truth is, I never gave it much thought. I just played what I had to play.
I was actually the head of the violin after-school club. And then I was also the head of the dance club, the popping club. So one day, just by coincidence, we had to hold the two clubs at the same time. I had to go back and forth. And that's when the idea came up for dancing and playing violin at the same time.
I played sometimes about as dull as you can play it. I did things the right way, you know. I think I modeled my playing ability after one of the all time greats, Joe DiMaggio. You always found Joe, when he played, you know, he always threw to the right base. He ran, he caught the ball. He did all the right things. He was an idol of mine in the outfield. He played the game the way it was supposed to be played.
I'm tired of this party stuff, where we're going to do what's right for this party, or we're going to do what's right for that party. Let's just get together and do what's right for the country. I think that's what all of us want.
As an Anglo-Indian kid in Bolton, I was basically in a minority of one. That was a source of misery, but at the same time, one of the effects of receiving the message that you don't belong to the club is that you watch the club with detachment. The fact that no one quite knew who I was was a major contributory factor in starting to write.
A lot of artists go in the studio and say, 'OK, whaddaya want me to do? Is it gonna be a hit? I'll do it. Is it gonna get played on the radio? I'll do it.' So they start makin' these songs, and they fall in the same tempo, same category, same this, same that, and it'll just all sound the same.
A real good artist is basically a grown-up kid, who never kills the kid. What we call being an adult is basically about killing the kid. People think you have to forget about the kid to become an adult and deal with grown-up problems. But, that's bullshit. We are still kids. It's the same, you just grow up. You're a kid with more experience.
I think some songs are better on vinyl. I would rather listen to it in a club! 80% of this album; put it on in a club and just rage! Play it super loud!
You don't want to be slavishly doing the same thing over and over again that everybody else has done, but at the same time, you're conscious of, "This is important. I owe something to my ten year old self right now. I need to respect that." I need for that kid who is obsessively reading comic books, I need there to be something rewarding for him where he's like, I didn't waste my time. I know what this is.
There was one point in high school actually when I was on the chess team, marching band, model United Nations and debate club all at the same time. And I would spend time with the computer club after school. And I had just quit pottery club, which I was in junior high, but I let that go.
Growing up as a kid, I played for Wallsend Boys Club, a famous boys club. I had such a good childhood and upbringing there.
This site uses cookies to ensure you get the best experience. More info...
Got it!