Sam Fender wins 2025 Mercury Prize for album of the year

Sam Fender has won the 2025 Mercury Prize for his third album, People Watching, a steely-eyed dissection of working-class life in the north of England.

The singer looked stunned when his name was announced. “I didn’t think that was going to happen at all,” he told the BBC as he came off stage. “I’ve spent the last 10 minutes crying.”

Fender beat the likes of Pulp and Wolf Alice – both former winners of the £25,000 prize for the best British or Irish album of the year – at a star-studded ceremony in Newcastle’s Utilita Arena.

His victory was met with a deafening cheer from the hometown crowd; who had earlier sung along to every word as he performed the title track of his prize-winning album.

The 31-year-old is no stranger to the Mercury Prize – having previously received a nomination for his second record, Seventeen Going Under, in 2022.

People Watching was released in February and immediately topped the charts, selling 107,000 copies – making it the fastest-selling album by a British artist since Harry Styles’ Harry’s House in 2022.

Mercury Prize judges called the record “melody-rich and expansive, marrying heartland rock with the realities of everyday life and the importance of community.”

“It felt like a classic,” added Radio 1’s Sian Eleri, announcing the prize.

Taking to the stage, Fender dedicated the award to his late mentor, Annie Orwin, who he previously described as “a surrogate mother in a lot of ways”.

“I was honoured and lucky enough to be with her in the last week of her life, and the title track was about her and about grief,” he told the BBC.

“Then the rest of the album is very much local stories, little pictures of Shields, and the people I’ve grown up with.

“So, very much like every other album I’ve done, but I think we got it right this time.”

The North Shields native has become a hero in Newcastle, where he played three sold-out stadium shows at St James’ Park this summer, attracting some 150,000 fans.

Winning the Mercury Prize on home soil was as poetic as it was well-deserved. As Elton John said a couple of years ago: “He’s a British rock ‘n’ roll artist who’s the best rock ‘n’ roll artist there is.”

But Fender had downplayed his status as the voice of a generation, or even his hometown.

“People bandy about those terms all the time, and it’s ridiculous,” he told the LA Times in May.

“Saying that somebody’s the voice of a generation – I’m not, honestly. I’m an idiot. I’m just writing about my experiences and the experiences of people I know, and people attach such weight to it.”

Speaking backstage, Fender’s bandmates joked that he’d celebrate his £25,000 prize with “a pyjama party” at his house.

But the musician said he’d celebrate in a more traditional manner.

“I’m gonna have a beer.”

In the run-up to the ceremony, Irish singer CMAT had been the bookmakers’ favourite for her third album, Euro-Country.

A sharp and witty collection of songs that tackle everything from body shaming to the collapse of Ireland’s economy in 2008, it reached number two in the album charts this August, bolstered by a summer of joyous festival perfomances.

Speaking to the BBC before the Mercury Prize she joked that she’d “flip over a table” if she lost.

Other nominees included folk singer Martin Carthy, and pop star PinkPantheress – whose 20-minute mixtape Fancy That was the shortest ever entrant for the Mercury Prize.

Established in 1992, the Mercury Prize was envisaged as an antidote to the commercially-focused Brit Awards, recognising albums that moved music forwards, without any recourse to fashion or trends.

Of the last 34 winners, 20 have been debuts – from artists including Arctic Monkeys, Suede and Franz Ferdinand.

Many people have mistakenly assumed it is a prize for first albums – but this year’s shortlist included only two: Jacob Alon’s delicate and beautiful In Limerence, and Joe Webb’s Hamstrings and Hurricanes, a jazz album partially influenced by Oasis.

This year saw the ceremony move from London to Newcastle, as part of a wider music industry initiative towards decentralisation.

“Talent is everywhere but opportunity isn’t,” said Jo Twist, says chief executive of the BPI, which organises the awards.

“So it’s only right that we bring these large scale shows (outside London) to show there are opportunities within the music industry without having to move city.”

Fender noted the change, saying Newcastle had “always been in an isolated bubble” from the music industry.

“So for it to be recognised is really important. Hopefully it can be the beginning of many other wonderful things.”

Sam Fender’s an unusual proposition. He’s a festival headliner with punch-the-sky choruses whose lyrics are overtly political.

On this, his third album, he picks at the scabs of northern working-class life, and rails against a system that leaves families mired in bureaucratic neglect.

Death and loss loom large. The title track was inspired by visiting his mentor and “surrogate mother” Annie Orwin in a palliative care home – and he paints a bleak picture of a “faciilty fallin’ to bits / understaffed and overruled by callous hands“.

The wistful Crumbling Empire draws parallels between the post-industrial decline of Detroit and Fender’s hometown of North Shields, while Rein Me In finds him struggling to shake the ghosts of a failed relationship.

Fender said his ambition for People Watching was to write “11 songs about ordinary people”, but this vexed, anxious album ends up being something more substantial – a tribute to human spirit in a time of deprivation and indifference.