Samantha Fish is a supersonic purveyor of soulful, electric New Orleans-inspired blues. Her guitar work is a captivating electrical storm that captures you from the first note and leaves you breathless by the end of one of her patented solos. Yet, she’s not just all chords and riffs — Samantha wields a mighty voice that fits perfectly into the genre she is ascending to the top of.
Recently, we caught up with Samantha Fish to discuss her new album Paper Doll and why it’s the best record she’s done, rearranging songs for the live experience, lessons she’s learned along the way and five things she’s excited about for the remainder of 2025.
In a recent interview you stated that Paper Doll was the best record you’ve made. Can you talk about why you feel this way?
I feel that way about every new record, it’s the closest thing to who I am right now. It’s a snapshot. The idea is to always get better, I just think that I made an album that sounds more like our live show. It is authentic and true to who I am right now. I think it showcases my vocals, my guitar playing, and my band. I think the songs and production are the best yet.
Is there a track on this album that really embodies this feeling of it being the best album you’ve ever made (e.g. this writer’s personal favorite is “Sweet Southern Sounds”).
That is a good one! Slow tempo shift throughout the song. You don’t hear that much on modern records. It has a live feel to it. I like them all… but I really like “Paper Doll,” “Lose You,” and I like “Rusty Razor” featuring Mick Collins. I love “Don’t Say It.” The backing vocalists made the song so much heavier. I thought it was a great way to end the record.
In the same interview you mentioned your first record was the worst. I’d like to know since that 2009 album what is the single best lesson you’ve learned about making a record in the 16 years since that first one was released?
I said it’s the worst, but it’s just my first. I didn’t know much about recording. I am just harping on my own inexperience. I can’t say there’s one single thing that has changed my entire process, it’s a lot of little things you pick up. I guess a mantra I have now is everything is in service of the song. You do what the song calls for. If it doesn’t call for a big frenzied guitar solo, or a massive showy vocal, you don’t do it.
I’ve spoken with a lot of musicians who relish in re-arranging songs for the live experience whether it be allowing for improvisation or literally re-writing and restructuring songs ahead of the tour. Do you subscribe to this, or is what you hear on the record what you hear live?
I absolutely subscribe to that. It’s about what’s best for the show. How is this gonna go over in the absolute best way possible? I always try to make it sound like the record initially, because these songs already have a personality. You gotta find a balance.
Talk about The Texas Headhunters, who’ll you be heading out on the road with. What’s your thoughts of them as artists? (We asked them the same question about you).
The Texas Headhunters are a group of very talented guitar players, Jesse Dayton, Ian Moore and Johnny Moeller. Jesse Dayton and I collaborated on Deathwish Blues, then were on the road together for a year and a half. I just met the other guys for the first time. They’re all exceptional writers, singers, and players. It’s pretty cool having that many guitars on stage and they sound very different. It works.
What are five things you are most excited for the rest of your 2025?
I really don’t have a list, and it’d be hard for me to make one. We’re traveling so much. Every show is an opportunity to be excited. Whether I’m with Texas Headhunters, Kingfish, performing abroad… there’s a show to put on and people to play for.
