Growing up on the muddy banks of the legendary Muscle Shoals, Alabama, Hannah Aldridge had her birthright written in the stones upon which many icons before her walked. Having been classically trained in piano, the musician didn’t pick up a guitar till she was in her twenties. Watching her at The Half Moon, Putney, it was hard to believe she had only been rocking out since then. With her support Katie Bates by her side, Aldridge gave us an unforgettable night of pure, musical bliss on the tenth anniversary of her debut album, Razor Wire.
Hannah Aldridge – Katie Bates
The Half Moon, Putney – 3 October 2024
Words: Monty Sewell
Photography: Steve Ritchie 
Hannah Aldridge
Joining Aldridge on her tour are Katie Bates on bass, Marcus Lundqvist on electric guitar, and Daniel Juter on drums. With Aldridge repping an acoustic guitar, the quadrant sets itself up for brilliance as any group of top-end musicians would.
Aldridge welcomes her adoring crowd into her set with the train-beat Americana song Old Ghost. Her presence leaves no space for attention elsewhere, with vocals deep and soaring and a signature husk that drives right to the core of your soul.
She follows this with the Wild Western swayer, Howlin’ Bones. Though ten years have passed since its release, Aldridge chews each word out with a fiery prowess as though they had been written with the inspired emotion in mind minutes before.
Strand of Pearls lets the band drop momentarily back as Aldridge grips us into a steady-beat reflective moment. She drips with the kind of attitude brewed in the backstreets of Alabama, born to be played to the thousands. Lie Like You Love Me shows Aldridge’s softer tones, with the audience’s heads rocking back and forth to the heartbreak words and soulful spirit.
On top of giving her audience a phenomenal live show, Aldridge also proves herself to be a great teller of stories. Parchman, in particular, was inspired by a moving story of domestic abuse ending on death row.
As a songwriter, Aldridge captures this with such a respectful grace that it stands out as a moment within her set. She follows it up with Beautiful Oblivion from her 2023 album Dreams of America.
Heading back into Razor Wire territory, the country kick-back Yankee Bank provides a country-call Western feel before You Ain’t Worth the Fight has Lundqvist continuing to showcase his exquisite lead guitar chops. The guitarist and drummer Juter then leave the stage, leaving Aldridge and Bates to give us a stripped-back version of The Great Divide and Living on Lonely.
They compliment each other with a sincere musical partnership, even sporting matching tattoos. The harmonies could not have been sung better, nor the music played in greater duality.
They finish their duo interlude with a cover of Talking Heads Psycho Killer. If you are looking for a cover that hits as hard as the original with an added twist of deep, gothic melodies, this one is for you.
Halfway through Psycho Killer, Juter and Lundqvist return to the stage, joining Aldridge and Bates, bringing the whole rendition into a spine-tingling crescendo finish.
The title track of the night’s celebrated album serenades wonderfully before the Travis Tritt cover Modern Day Bonnie and Clyde (written by Aldridge’s father, renowned Muscle Shoals songwriter Walt Aldridge).
Aldridge releases her hard rock fire with Some Ghosts (Don’t Make A Sound). Her band are a force of soul-fed fuel as Jutor lays down more breath-holding snare hits, intertwining with Bates’ bass work with unfailing rigour. Aldridge is neither Americana, nor country, nor rock, nor blues. She is a vessel containing all of those things, creating a sound quite like no other with a heck load of heart.
Black and White – supposedly – ends the night, and as the band leave the stage, the crowd gives a resounding cheer. They give an even louder one when Aldridge and her band return to the stage for an encore that will forever be etched into my memory.
Citing a story which involves a dive bar, a gig, a very drunken audience member, and some unfortunate throwing up on Aldridge’s shoes by said audience member was told. The song that ensued was Burning Down Birmingham, with a sing-along inspired by that fateful night.
The entire venue was in gleeful chorus together. Never have I enjoyed a song that much about puke on shoes, but with songwriting that good, you just can’t help but throw both hands high and sing your heart out.
Aldridge and her band finish with another rock-heavy plunger: Try. It is loud and punchy and leaves a horn-held shape in your stomach. As the song ends, the band finishes their set on their knees, and instruments are held high in a brilliant build-up strum-out.
Hannah Aldridge is simply mesmerising. She encapsulates so many superb elements of so many genres, combining that with her rousing lyrical twists. We congratulate her on the tenth anniversary of Razor Wire and look forward to seeing what another ten years will bring (hopefully another UK tour soon!).
Katie Bates
Before joining Aldridge onstage as her bassist, Bates shone with her solo work. With snarlingly good electric guitar riffs at her side, her grunge-inspired music held its own. Emotive with a hard-rock depth to it, she complemented her compositions with gorgeously toned vocals.
Bates has two EPs out and played through their many highlights, captivating The Half Moon and stirring them into full focus. She blends heartfelt lyrics and quirky retorts with the constant push for that big chorus. The only thing she leaves us wanting is to see her again with a full band to really showcase the power of her music. It was a brilliant start to the evening from an artist we look forward to hearing more from.
