![]() I think when you’re young there’s a lot of insecurity that goes along with that-I asked a lot of questions, “Is this OK? Does this sound right? Should I put this album on a record?” Now, it’s a little more like you just sort of know what’s going to work, and you just trust your instincts a little bit more. I’m not so shy to connect with the artistic side of myself. I’m definitely more of a confident performer. You released your first album, Live Bait, when you were just 20 years old back in 2009. ![]() It took a little while to come together… once we got the studio it was just making the vision happen. We had Detroit rock 'n' roll meets New Orleans style plus myself, and that’s kind of the mix of the whole record. They were the foundation of the album, and then we brought in these horns from New Orleans. They’re kind of like a punk rock blues and soul band. The backing band was members of this band called the Detroit Cobras. Some of the covers we did were from obscure girl groups, to incredible writers like Nina Simone-we even threw a Skip James song in there for good measure. It’s very much a retro-inspired, R&B rock and roll soul album. Every song on the album is a cover from the '50s and '60s. It’s a different album from anything I’ve ever done before. Tell us about your new album Chills and Fever. It’s just such an odd environment to put on a concert. I think they’re pretty safe but it is weird being that high up, just kind of lilting back and forth on this wire to try to play a song. I guess I knew we were doing it in a ski lift, but I never really processed that until we got in the lift and I realized how high up we were going and how crazy that was going to feel, singing while your ears are popping. It’s a video series that they do, it’s called Tram Jam. It’s sort of like the Jam in the Van series. So there’s a video of you performing a concert in a ski lift in Jackson Hole at their Rendezvous spring music festival event. Every genre really I feel like in American music ties back to blues music. ![]() I already kind of connected the dots in that way, and at the root of everything that I loved was blues music. What they were playing was natural to Mississippi, but there was this element of raw rock 'n' roll, almost like a punk attitude, because it was just so guttural. I was a rock 'n' roll kind of a kid-that’s the kind of stuff I was playing on guitar-but I also gravitated towards this north Mississippi sound because to me, RL Burnside, Junior Kimbrough-there was something simpatico to me. I think my upbringing in Kansas City, when I started playing guitar and I wanted to go out and play, there were so many blues oriented things going on. When did blues become a part of your life? Louis to perform at Old Rock House, she talks about detouring through Detroit to make her latest album, not having a Plan A, and playing in a ski lift (seriously). She’s released four solo albums, including her most recent, Chills And Fever, which hit number one on the iTunes Blues Charts. Her intuition has proved correct in charting the path for her career. “To me, everything I do at the root of it is blues.” Blues, there’s so many arguments about it, the genre itself-is it a broad category, is it one specific thing, is it pure style or is it all these other things that have evolved and come from that,” she says. “To me, it was the root of everything that I was doing. Lyrics of love and sex, hurt and longing, and daily experiences set to a raw guitar allow it to resonate around the world and be appreciated by all types of people-including one Samantha Fish, a blues singer from Kansas City who was in her late teens when she discovered the blues. One of the gifts that blues music has it that its resonance goes way beyond its origins in the Mississippi Delta.
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