Samantha Fish in interview: “On stage, I don’t censor myself”

During her latest European tour, Samantha Fish played to packed houses and earned standing ovations, including a memorable show in Lyon (covered on our site). Riding the momentum of Paper Doll – her new album recorded for the first time with her touring band- Samantha Fish showed audiences just how tailor-made the new songs are for the stage: powerful riffs, a liberated voice, and influences ranging from blues to rock, with even a dash of punk.

It’s also – and above all – a deeply personal album, where one of today’s most prominent blueswomen leans into feminism, questioning the roles imposed on women. We spoke with her after the tour to discuss her creative process, her commitments, her collaborations, and that essential quest: making music that tells the truth.

🎙️ The Interview

Hello Samantha. You’ve just wrapped a very well-received European tour following the release of your album Paper Doll. How did you experience it?

Yes, it’s true—I feel like this record really resonated with our audience in Europe. It’s a unique moment for an artist: being on stage, playing new songs for the first time, and hearing people sing along with you. The venues were beautiful, and the audiences were extremely receptive and warm. It was a truly successful tour from start to finish.

The crowd was incredible—I was at the Lyon show and the vibe was insane!

Lyon was definitely a highlight. The layout of the venue was pretty unusual—people seemed stacked on top of each other! They were very responsive, very enthusiastic. It was a real pleasure to play there.

Paper Doll is the first album you recorded with your touring band. Did that change how you approached studio work?

We recorded the album over several sessions, between our summer and fall tours. In that context, it made sense to work with the touring band. We had great collective energy coming off the stage, and we took it straight into the studio. I think you can really feel that sweat, that live intensity, on the record.

On this album, it feels like you fully let go—powerful guitar solos and vocally too. What does this record represent for you?

After my collaboration project with Jesse Dayton (Deathwish Blues), I wanted to put out something that really feels like what we do on stage. People often tell me they enjoy the albums, but it’s live where everything takes on another dimension. So I set myself that challenge—make a record that captures that raw energy. On stage, I don’t censor myself, so I did the same in the studio. I wasn’t trying to make three-minute, radio-ready tracks—I wanted to let the music breathe.

“Paper Doll calls out the unrealistic expectations society places on women”

The title track Paper Doll seems to suggest a kind of rebellion. Is that right?

Yes, Paper Doll calls out the unrealistic expectations society puts on women—the constant pressure to be perfect from every angle. It’s a protest song, a clear refusal of those demands.

The album explores new dimensions of your musical world, with rock, soul, and even punk influences. How did you find the balance between these styles?

I think it all comes down to personality and production. We blended styles by working on the sounds—guitar tones, drum textures… My voice can shift depending on the song, but it always stays true to who I am. And I’d say the blues is the backbone of the album. It grounds every track despite the varied influences.

You collaborated on the track “Rusty Razor” with Mick Collins, an emblematic figure of garage punk. Was that a way to push the musical exploration even further?

That was my producer Bobby Harlow’s idea. While we were recording Rusty Razor, he kept saying he was hearing a male voice answering mine. At some point he realized that voice was Mick Collins. Since they know each other and both come from Detroit, Bobby said he’d reach out. And when he promises something, he does it. I was thrilled that Mick agreed. His part really took the song to another level. It’s one of my favorites on the album.

Another key collaboration is with Jim McCormick, with whom you co-wrote several tracks…

We’ve been writing together for over ten years. There’s real chemistry between us and a strong friendship. When I need a creative spark or to reconnect with the writing, I know I can call him. He’s incredibly talented.

You’ve said: “every song is a feminist anthem when you write from your own lived experience.” How do you see your place as a woman in contemporary blues?

I think we need to see more women in this space. It’s hard to picture yourself somewhere when nobody who looks like you is in the roles you aspire to. If I can inspire even one young girl to write, to play an instrument, or to enter this often male-dominated field, then I will have contributed something. The more women there are in the industry, the more natural their presence will feel, and we can finally focus on what matters: the music. I don’t define myself only as “a woman in the industry,” but as an artist with a point of view.

“Opening for the Rolling Stones was a symbolic moment”

As a true Rolling Stones fan, I have to ask: what was it like opening for them on their last U.S. tour? Was it an incredible moment? What do they represent to you?

It was a tremendous honor. They’re the greatest living legends of rock. I was on cloud nine. They’re among my biggest influences. Their songs transcend eras, and they still sound amazing. For me it was symbolic—like validation, a confirmation that I’m on the right path.

One last word—what would you like listeners to take away after hearing Paper Doll?

My goal is for my music to move people. I write from my own experience, but I hope it can also tell someone else’s story. And if it makes you feel something—or dance—while you’re listening, even better.

🎵 Listen to the album Paper Doll on Spotify