The story of Hannah Aldridge's overseas venture is approaching a decade old and continues to turn out blockbusting chapters. Periods of lull often simmer and set the scene before an eruption blasts the dynamics shedding new light on an artist. Solo is the de facto format when touring, frequently filtering into duo mode when opportunities rise. Collaboration, whether with homegrown musicians or fellow touring acts, is rife, all wrapping each show in its own individual blanket. You often sense the yearn to share the band format, especially with rock credentials, is always lurking. A few years ago, shows with Swedish outfit Jetbone briefly surfaced in the UK to turn the live agenda on its head. Promises were made of another foray into the band zone and fans have been stunningly blessed with a 2023 version of Hannah Aldridge submerging her stage aura in the heady waters of frontperson.
There appears two catalysts for the current touring phase. Firstly, an escalation of associations made with Australian musicians followed by releasing an album in the summer aching for an evocative full bodied presentation. Melbourne-based artist Lachlan Bryan is the lynchpin from Down Under and right at the heart of making the record as well as being core to the new band set up. For this evening's gig in Oxford, Bryan played keys alongside fellow Aussies Brad Bergen on drums and bassist Katie Bates. Succinctly laying the riffs in the background was Californian guitarist John Courage nailing the art of less is more. With this stellar line up it was Hannah Aldridge's to lose.
Not a chance of that happening as a relatively undiscovered side to her stage craft was honed and authentically effused to what can kindly be labelled a seasoned audience on the Hannah Aldridge appreciation scale. The themes and eloquent heartfelt interludes remained familiar to well-versed minds, but the vibes, movement and peer interaction took aspects of the show to fresh levels.
DREAM OF AMERICA, the new album, was born for this delivery. The version of 'Psycho Killer' was withheld from the summer acoustic shows to make a sinister bow with full accompaniment. A darker adaption of Bryan's 'Portrait of the Artist as a Middle Aged Man' has become the show's pinnacle moment with its climactic role. 'Unbeliever' and 'The Great Divide' saw a writer rip the cover off their soul in the show's calmer moments. Away from the new record, arson is wryly endorsed in 'Burning Down Birmingham' (countless closing renditions leave a charred city), 'Lace' retains a spine tingling eerie allure, while 'Razor Wire' heads a record as vibrant as first heard when launching Hannah Aldridge in the UK nearly a decade ago.
This current run of band shows has enlisted the services of a very special opening act. At the break of this Oxford gig, the audience were just coming to terms with an outstanding introduction to the seriously impressive wares of recently formed Australian act The Pleasures. A little spoiler is a trio of their quartet returned to the stage after the fifteen minute interval to become three-fifths of Hannah Aldridge's band. Resourcefulness is the name of the game at the coalface of independent music, just another charm of actively supporting this most connective level. The Pleasures are basically a trio outfit consisting of the ever-dexterous Lachlan Bryan, drummer Brad Bergen and decorated country artist Down Under Catherine Britt. Bates turned the outfit into a four-piece and for a delightful forty-five minutes we were taken on a wondrous journey of break-up solace spiced with an upbeat delivery. The word stagecraft was previously used to define the headline performance, but in a different way it bound the cultured presence of Catherine Britt as a vocalist and conveyor of a timeless style of music.
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| The Pleasures |
In a parallel world the performance of the support may have upstaged the main act such was the credence spilling from the venue's stage. In crude but kind terms, the upshot was the monumental display from Hannah Aldridge buried what came before. The Pleasures will come again and they played a splendid part in what may prove a gig of the year candidate when objective reflection kicks in. However, it is right for the headline act to control the narrative, and in a friendly way, Hannah Aldridge owned the floor and ultimately the evening.
On a side note, this show was the final one under the Empty Rooms stewardship of Mike Trotman. The Oxford and surrounding areas promotion will carry on with a new leader in the future, but thanks were forthcoming from all quarters for the many years of service to a music community that needs all the advocates it can. Each 150 mile round trip made (and there have been plenty) to an Empty Rooms show in either Tingewick or Oxford has been a hugely enjoyable experience. From first attending a Dale Watson show in 2013 to this evening of Hannah Aldridge at her best, the pleasure has been all mine, A farewell thanks for making these evenings a real treat.
The (almost) final word is left for Hannah Aldridge and her enormous commitment to evolve as an artist on the doorsteps of fans thousands of miles from home. A feat that is reciprocated by many who support her music. In the tailwind of tonight's enthralling show is a certain Lachlan Bryan, doing likewise from a different corner of the world.
