The Gang — and they really are — have toured with Samantha Fish before, and two of them literally are family. That matters, because what they do onstage has that proper unit feel: tight, fearless, and playing with the kind of confidence that says they know exactly what they’ve got.
They open with “High Roller” and it’s everything you want: the blues with the exuberance of a gang of kids knocking back Frosty Jack and daring anyone in the room to stay still. “Woman” follows and it’s basically a reminder — in case you somehow needed one — that Schulze is a wonderful guitar player, the kind who makes it look effortless while clearly having the time of his life.
“Walking the Dog” — the old Rufus Thomas cut — is as authentic as you get, then “She Does It Right” gets the full Dr. Feelgood treatment: Kent-roots rock’n’roll, all bite and strut, no fat on it. And if you’re wondering where the injection of youth comes in, “Hole In My Pocket” answers that quickly enough: Ant’s favourite thing, which is smoking weed, becomes the most joyous little jolt of energy, like they’ve plugged the blues into a mains socket.
“Ballyshannon Blues” comes with a grin and a line that tells you plenty about the frontman too — Zac says drinking Guinness is his favourite thing, and honestly, fair enough. There’s a looseness to it, but it’s the good kind — the “we’ve got this” looseness, not the “we’re hanging on” kind.
Then it goes full theatre in the best way. “Hellhounds On My Trail” — via Tony Dowler’s Hellhounds — sounds incredible, and Schulze holds his guitar up like a trophy, gets down on his knees, and plays like he’s insisting the thing does his bidding. It’s showmanship, sure — but it’s showmanship that comes from belief, not posing.
They finish with “Oh Well”, and yeah, it’s almost impossible to get wrong — but The Zac Schulze Gang still manage to make it feel like theirs, dragging it right into 2026. He can sing, he’s pretty, and you can basically watch them fly.
There’s nothing quite like a three piece. Actually, there’s nothing better than a trio full of youthful energy, playing like they’re already at the top of the game.
Stars are born on less.
Iggy Pop blasts out of the PA before Samantha Fish and her crew hit the stage and maybe that’s a sign of what’s coming. There’s a sense that tonight might lean more towards the primal side of things.
So when they crash into “Kick Out The Jams” – the old MC5 war cry – it feels both unexpected and absolutely perfect. Raw, ragged and loud, it sets the tone immediately.
“Paper Doll” follows and the groove settles in, the title track carrying the same vibe. For a moment Fish almost sounds vulnerable before the final chorus. Almost. It doesn’t last long.
On “I’m Done Runnin’” she sings “I’m changing,” and maybe she is, but what’s really clear is that these newer songs have groove, heart and personality like never before.
“Sweet Southern Sounds” dials the boogie right up, all rolling Southern swagger, but my god the woman can play that guitar.
When “Bulletproof” arrives and she gets the slide out on that little cigar-box contraption, she becomes the very essence of the blues.
Then there’s “Miles To Go,” which races around like a three-year-old on a Skittles bender. Fish herself seems totally charged up tonight.
Switching back to a regular guitar for “Fortune Teller” alters the mood completely. It starts slow, swirling and half-spoken, almost proggy, before it suddenly erupts and all hell breaks loose.
“Better Be Lonely” is playful, fun and catchy, while “No Angels” shuffles along in a more restrained groove — by comparison at least — and she clearly relishes the solo.
Speaking of solos, “Poor Black Mattie” (the old R.L. Burnside tune) comes with the promise: “I’m gonna play you some old school blues right now.” And she absolutely rips it from somewhere deep in her soul.
“Rusty Razor” brings a dirty rock ’n’ roll feel and a hell of a chorus, while “Don’t Say It” – another from the new record – carries a strong soul edge.
By the time “Dream Girl” rolls around the band are absolutely locked in, and “Black Wind Howlin’” comes with Fish urging the crowd: “I wanna see you moving a little bit.” The groove drops low and nasty.
Behind her, Ron Johnson (bass), Jamie Douglass (drums) and Mickey Finn on keys have to be sharp just to keep up with the whirlwind at the front. But they’re more than up to it, jamming hard and striking gold more than once.
The encore only adds to the sense of fun that’s run through the whole set. “Bitch On The Run” sees Zac Schulze join them, the two trading licks as the song gets damn sassy and the crowd happily joins in.
Samantha Fish’s records are magnificent, make no mistake. But saying that almost feels like faint praise after a night like this. Because the truth is she’s an artist you really have to see live.
That’s where she belongs. That’s where she truly comes into her own.
And to paraphrase the hook from that last one: right now, she’s feeling it.
Main Picture: Rich Ward
