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“My name is Samantha Fish, and y’all sold this place out!”
The beaming smile coming from two-time Grammy-nominated artist (damn, it must feel good to be referred to in that manner) Samantha Fish is dazzling and powerful enough to keep Scotland in energy for a month or two. For now, Ms. Fish is powering a large room, featuring a capacity crowd in what is generally regarded as one of the best venues for sound in Scotland. Makes sense, though, if you are going to bear witness to one of the most electrifying performers on the circuit (not just Blues, but any genre), then you at least want to hear what she has to offer.
At times tonight, during the 90-minute set, you could have heard a pin drop. During other, more raucous moments, one might be forgiven for letting loose and breaking out some dance moves. You know who you are, yes, you, the fella at the side of the hall, stage right. We see you. Not so much dance like no one is watching—more like who cares who is watching.
Freedom of expression is a wonderful thing, and it is alive and kicking tonight in Edinburgh. All fuelled by a fiery performance from an artist who is in the form of her life.
Returning to the same venue, which she made her own in October 2024, Samantha Fish also opted for familiarity, keeping the special guests the same as last time: Kent-based trio The Zac Schulze Gang. A power trio that gives the UK Blues scene a welcome shot of adrenaline.
Led by the titular Zac Schulze, and also featuring Zac’s brother Ben on drums, and bassist Ant Greenwell, the trio performs as if it is their last night on earth. Anyone expecting a slow-paced, cautious, pedestrian set from the opening act would have been spluttering in their over-priced choice of beverage as the guys blast their way through a set split 50/50 between original material and cover versions. If the job of an opening act is to go out there and shake it up, then TZSG certainly delivers on that front.
Drinking from the same well as the likes of Rory Gallagher, Dr. Feelgood, and Stevie Ray Vaughan, Zac Schulze explodes out of the starting blocks with the gloriously high-energy of set-opener (and original track) ‘High Roller’. Clearly, on the old-school full-sugar Irn Bru that has been outlawed for some years now, Schulze is incredible to witness in the flesh. His fingers are a blur as they fly up and down the fretboard, but importantly (and all shredders take note), tone and feel are not forsaken for speed. Not hanging around, the trio maintains the tempo with another original, ‘Woman’.
Covers come in the guise of Rufus Thomas’s ‘Walking The Dog’, Dr. Feelgood’s ‘ She Does It Right’ (which would surely have the Wilko Johnson seal of approval), Tony Dowler’s nod to Robert Johnson ‘Hellhounds On My Trail’, and a blinding version of Fleetwood Mac’s ‘Oh Well’ to close the show. The Zac Schulze Gang have enough firepower in their original material to see those covers lessen over time. ‘Hole In My Pocket’ (which features Ant Greenwell on lead vocals) is stunning, as is the romp known as ‘Ballyshannon Blues’. While the number of cover versions is understandable in this environment, with an album as strong as ‘Straight To It’, it is only a matter of time until the band breaks out a cover as a rarity.
A regular visitor to this venue, having performed in 2024 and 2022, tonight’s set features the least amount of covers from Samantha Fish (‘Poor Little Mattie’ being the sole offering), and the result is, without any argument, the strongest of the three gigs. With an album as strong as the Grammy-nominated ‘Paper Doll’ tucked under your arm, why would there be any need for cover versions? And it’s ‘Paper Doll’ that Fish calls upon to open the show, with one of her catchiest tracks to date: the scorching, empowering title track.
This sets in motion a six-song romp through the ‘Paper Doll’ album with Fish quickly following up the title track by adding some slide guitar to her impressive arsenal, and ripping into a throaty version of ‘I’m Done Runnin’, confessing that “I’m turning into someone that I’ve never known/Past is coming undone, but I like where I’m going…” before telling the crowd to “Watch me go…”. Her playing is as strong as ever, but it’s the crystal clear enunciation of her vocals that impresses the most. Flanked by an amazing band that includes Jamie Douglass on drums, bassist Ron Johnson, and the crucial keys from Mickey Finn, Fish powers into the roadhouse anthem ‘Can Ya Handle The Heat?’ which has the Kansas City bombshell impressing yet again with her powerful vocals.
‘Sweet Southern Sounds’ is a lot heavier live than it is on the studio version, with Finn’s thick keys sound controlling the atmosphere for Fish to build upon, and one of the highlights of the ‘Paper Doll’ sounds immense live. Smokey, sultry, a little bit devilish. With a solo from Fish that hangs around for days on end. Immense. As is the cooler-than-ice-cold ‘Lose You’, which benefits from a little jam on the intro while Fish coaxes a response out of the crowd.
A scorching live version of the already red-hot ‘Bulletproof’ is the first detour from the ‘Paper Doll’ album, and the famous cigar box guitar makes an appearance that launches a sea of cell phones springing into action. With Samantha alternating between her standard mic and a distortion-loaded mic, there is nothing quite like witnessing this one live, and it’s easy to imagine it being a cornerstone of the set for some time, especially when you witness the audience’s reaction.
‘Fortune Teller’ is a thick, slow-burning return to ‘Paper Doll’ and brings a change of pace from the full tilt boogie of ‘Bulletproof’. The spoken-word vocals from Fish perfectly setting the scene for the always-amazing Jamie Douglass to come crashing in with some Bonham-esque hits before a false-ending acts as the signal for all hell to break loose on the Psychobilly-fuelled climax where Fish’s playing is other-worldly. Keeping it rockier; how about them apples on ‘Rusty Razor’, which could have come straight outta Detroit.
Having produced the strongest album of her career, thus far, Samantha Fish is on a roll. The next logical step would be to move her tours up a venue size. Always a risky move, as very often Academy-sized venues mean a lack of character, and sadly, a poor sound. A talent like Samantha Fish’s needs to be heard, clearly. Is it only a matter of time before a gig at the Royal Albert Hall in London is on the cards?
Catch the remaining dates on this tour in Germany and the Netherlands. More information HERE.
Review – Dave
All images – Callum Scott
