American Blues Scene Magazine has this writeup on Samantha Fish:
From the balcony, it was the perfect view of the stage and dance floor. It was nearly midnight at Cartoon’s Oyster Bar and Grill in Springfield, Missouri, only hours before the blizzard of the year coated the city in a thick white sheet. Just below, couples danced at the front of the high rise and others were throwing back frothy beers within the company of friends. Even on the second floor, people were deeply entranced by the Blues, some in the moment, eyes closed, swaying their arms, and others were leaning over the railing, letting their hair hang low and bobbing their heads rhythmically to the skip of every snare hit. Everyone was having a great time and really loved being there. Fiery, distorted licks flew from an oil can guitar and attitude packed vocals belted from Samantha Fish.
After she finished the song, she took a moment to address the crowd, telling them that she just received a text message from Royal Southern Brotherhood’s Mike Zito concerning the Kansas City Chiefs losing again. Being that she was from KC, it was understandable why she would ask if the audience could do her a favor and flip her camera phone the middle finger, for Mike Zito. Her drummer Go-Go and bass player Chris looked to be enjoying themselves in the moment, gazing out to see the older couples laughing, delightfully flipping the birdie, and one lady took so much pleasure in the moment that she held up both hands and shook them defiantly as if she were reliving rebellious teenage years.
Read the rest of the article here.
Three days after she sold out the venue’s main stage on New Year’s Eve, Samantha Fish returned Friday to Knuckleheads and sold out its other room.
Playing for an audience of about 60 in the Living Room, she delivered two hours of original songs and covers, showcasing her singing, songwriting, guitar playing and engaging personality.
Fish is classified as a blues artist, but she crosses musical borders. Her set list this evening included country songs — her own “Last September” and a cover of “Tennessee Waltz” — a jaunty version of Steve Miller’s “Jet Airliner,” John Hiatt’s “Native Son,” a lovely, mournful version of the Stones’ “Dead Flowers,” Tom Petty’s “Louisiana Rain” and three Tom Waits covers: “Walking Spanish Down the Hall,” “Heart Attack and Vine” and “I Don’t Wanna Grow Up” (hers was more like the Ramones’ version).
Throughout the show, she told stories and traded banter with the audience and her bandmates, filling the room with a casual and friendly vibe. She was backed by her stout and steady rhythm section: virtuoso Go Go Ray on drums and Chris Alexander, who switched from electric bass to upright throughout the set and added some nice vocal harmonies on a few songs.
Fish spent much of the evening playing rhythm and leads on acoustic guitar, but for several songs, including covers of R.L. Burnside’s “Poor Black Mattie” and Junior Kimbrough’s “Nobody But You,” she showed some prowess on Dobro, which she said she was playing live for the first time.
Amid those covers and others (“In My Time of Dying” and Charley Patton’s “Jim Lee Blues”), she played several of her own songs: the molten and grimy “Go to Hell,” from her latest album, “Black Wind Howlin’ ”; “Runaway,” the title track to her debut album; “Let’s Have Some Fun,” which she played solo-acoustic; “Other Side of the Bottle,” which she hammered out on the Dobro; and the bittersweet and soulful ballad “Over You.”
But this show was as much about Fish paying respect to her favorite bands, songwriters and influences as it was her own songs. So she ended with more covers, including a version of the Band’s “Ophelia” that had a nice Bonnie Raitt vibe to it, Petty’s “Louisiana Rain” and then “Jet Airliner.”
She is only in her mid-20s, but Fish displayed an impressive knowledge of and respect for music of yore and the skills and polish that should ensure her a long, bright future filling rooms of all sizes.