Jamie Webster grew up in Norris Green, a working-class area of Liverpool where songs are sung just as loudly in kitchens as they are on stadium terraces. His first gigs weren’t on a stage or in a studio, but in fan pubs and post-match parties. Today, however, he is known as one of the main voices of modern British folk: with serious themes, powerful choruses, and a deep connection to his hometown. Webster sings about everyday life, but his songs live on in stadiums, on the charts, and in news feeds. In every verse, there’s a little bit of politics, a little bit of romance, and a whole lot of Liverpool. In this article on liverpoolski.com, we tell you:
- how Jamie Webster became a cult figure at the intersection of football and music;
- what “modern folklore” is and why it’s sung by people in red shirts;
- which songs have already become classics;
- where the song about Arne Slot came from and why everyone is singing it.
From fan to hit: Jamie Webster’s journey
It all started with Jamie Webster singing for his mates. Not in a metaphorical sense, but literally: in pubs across Liverpool, after matches, and at fan meet-ups. His repertoire included classic British rock, traditional folk tunes, and the “Reds'” favourite songs. But then one day he covered Allez Allez Allez – a version of an Italo-disco tune that fans had turned into an anthem for Liverpool’s 2017/18 Champions League season. And something clicked. The song went viral, and so did his name.
Webster quickly became the face of a new fan scene. But he wasn’t planning on stopping there. He started writing his own songs – about work, about weekends, about everyday life that either irritates or inspires you. In 2020, he released his debut album, We Get By, which immediately entered the top ten of the British charts. Two years later, he released Moments, an even deeper, more personal, and political album. His third album, 10 For The People, came out in 2024 – and the title speaks for itself.
Despite his growing popularity, Webster hasn’t become disconnected from his roots. He continues to perform for fans, takes part in club events, and supports local initiatives. At the same time, he holds concerts all over the country and has stable album and ticket sales. His fan base has become a community, and his music, a commercially successful product that hasn’t lost its soul.
New folklore: what Liverpool sounds like in the 21st century
If you were to picture the modern folk scene in the UK, it would be a hybrid: with guitars instead of harps and stories about gas bills instead of ancient battles. This is where Jamie Webster fits in – at the intersection of traditional song and the life chronicles of the working class.
But that’s not to say that Jamie Webster’s lyrics are about some kind of “hard life.” They are about observations that anyone standing in a supermarket queue after a shift can make. In one song, someone “boozed away” the weekend (Weekend in Paradise), in another, there’s a complaint about blind consumerism (Stop Living Blind). But most importantly, there’s a sense of community. In his song This Place, Webster doesn’t embellish Liverpool or romanticise it; he shows its real face, with its flaws, but which is so dearly loved.
Critics compare his style to the work of 1970s folk artists who sang about strikes, factories, and the feeling of not being heard. But in Webster’s songs, there is no nostalgia or pathos. There’s reflection and a very clear “we.” The city speaks through his voice – and not figuratively, but literally: lyrics are quoted on social media, phrases appear on T-shirts, and choruses are sung in the streets.
This folklore isn’t written down in ancient anthologies and isn’t played at traditional music festivals. But it is what most accurately captures what Liverpool is like today.
The voice of the terraces: from “Allez” to “Arne Slot Song”
Football songs are folklore without recordings or copyrights. They are born on the terraces, live for a few seasons, and then either disappear or become legends. Jamie Webster knows this culture well, as he, one might say, grew up with it.
His cover of Allez Allez Allez became a true anthem for Liverpool fans. The song was sung at away games, at finals, and on the streets of Kyiv and Madrid. It was recorded, remixed, and lived a life of its own. And although Webster is not the author of the melody, it was his version that became the “canonical” one.
In 2024, Liverpool got a new manager – Arne Slot. And along with him, a new fan song. The Arne Slot Song quickly became a hit among fans. It’s sung to the tune of a classic pop song, with lines like:
He’s taken over power, He’s only just begun.
And although it’s not explicitly stated that Webster wrote it, by its structure, sound, and spirit, it’s a typical fan song in his style: emotional, simple, with a catchy quality.
Such songs are like a signal for the community. They celebrate a player or manager and create an emotional bridge between the team and the fans. And while the authorship is sometimes difficult to determine, Jamie Webster’s name is heard in this context just as often as the players’ names.
Webster’s best songs: what to listen to first
Jamie Webster’s repertoire includes dozens of songs, but there are some that are best to start with. They vary in mood, but all are about Liverpool, its people, and their shared experiences. This Place is probably his most expressive work. Melancholy, but not depressing. It’s a hymn to Liverpool – honest, unidealised, but full of love. It’s often sung with him at concerts:
This place, it means everything to me…
Weekend In Paradise is a hit about something everyone knows: escaping the routine on Friday and being back at it on Monday. Energetic, bold, and simple, yet bittersweet. Webster says this song “hit the mark” precisely because it portrays a typical weekend for the average Brit.
Something’s Gotta Give has a different tone. Here there’s social criticism, the decline of institutions, a feeling of powerlessness. But there’s also the hope that something will change. This song is often heard at rallies, not just matches.
Stop Living Blind, Living for Yesterday, Down The Road – these songs clearly showcase Webster’s signature style: a conversation with a person who could live next door. Simple vocals, acoustic sound, and a clear idea.
And then there are the live versions, which sound completely different. During concerts, Webster changes his intonations, adds jokes, or even improvises completely – so every performance becomes part of a folklore that you can’t record in a studio.
Beyond football: why Webster is more than a fan singer
Jamie Webster quickly outgrew the stadium terraces. And he became a fully-fledged figure on the British music scene. His albums regularly enter the charts, his tours sell out, and his songs are played on the radio all over the country.
Jamie has managed to do what few can: turn spontaneous fan creativity into a high-quality, well-packaged, and authentic product. Without losing his voice or his values. His music is a business, but not a cynical one. It’s concerts, merch, streaming, and collaborations with clubs. And at the same time – songs that are quoted in pubs, not in the offices of record labels.
In many of Webster’s songs, you can feel a kinship with Liverpool’s fan culture, which has its own mythology, anthems, and legends. By the way, if you want to better understand this atmosphere – read the story of the club’s main anthem, You’ll Never Walk Alone, and then compare it with the songs of our hero.
But Jamie is connected to many different aspects of life. He participates in political campaigns, supports workers’ unions, and performs at charity events. Not as a star, but as a participant in the process. And this, it seems, is the main thing: Webster doesn’t play the role of “a simple lad from Liverpool,” because he truly is one. And he remains ‘one of us’, despite his incredible success in show business.