Matt Woods is a product of Appalachia. You can hear his East Tennessee roots tangled in the lines of his songs and it is through this filter he distills the world, both external and internal, into his unique brand of songwriting. You can call it Americana, folk rock, even country music but no matter what it’s called it is, at it core, honest and heartfelt. Spending most of his time on the road, either engaging listeners as a solo artist or enrapturing them with his band, Matt Woods and the Natural Disasters, he would say, if asked, that he is “just trying to share some truth and get along.” 2019 brought the release of Woods’ 4th full length studio album, Natural Disasters, and an impressive touring schedule in support of it across the US and Europe, the latter of which having become a yearly endeavor since the release of 2016’s How To Survive. As the global Covid-19 pandemic brought touring to a halt, Matt moved forward in other ways including keeping connected via online events, writing for future releases, and even releasing an EP titled Mornings After as a companion piece to the 2019 album.
Both Natural Disasters and Mornings After, produced by Joey Kneiser (Glossary and Austin Lucas), share insights to the realities of our place in time as perceived through Woods’ eyes and enriched by the talents of Adam Meisterhans on electric guitars, Jeremy Mackinder on bass guitar, PJ Schreiner on drums, and Mike Webb (Chris Stapleton, Poco) on keys with Lance Howell (Big Shoals) and Kashena Sampson providing harmonies throughout. Along the way, Matt has shared the stage with the likes of Chris Knight, Black Oak Arkansas, Bobby Bare, Frank Turner, Roger Alan Wade, Zac Brown, Drivin’ n’ Cryin’, Will Hoge, Roger Clyne (of The Refreshments), CAKE, Robbie Fulks, The White Buffalo, The Black Lillies and others.
With every song, Hannah Aldridge is facing down demons of a life once lived from substance abuse to failed relationships and scars from the lashes of the bible belt.
Raised in the extremely religious State of Alabama, Hannah has since young years felt an affinity to the darkness found in the Southern Gothic themes and has developed a fondness of writing songs with elements of horror brought on by dark thoughts of depression or hopelessness. Finding a calling in exploring these heavy-laden feelings and impulses that we all have, but are typically afraid to indulge in she explains,
“The devil and darkness were always the boogeyman under the bed for me. It still is honestly. So that naturally weaves itself into a lot of songs. I find it extremely fun to sit and think of what type of song I would write for a particular scene in a movie or subjects that really scare me.”
Mixing her personal life and the sounds of her hometown, Hannah takes influences from across the rock genre. Working with one foot in country music and the other in rock has given Aldridge a fresh kind of Southern Rock styled by Southern Gothic storytelling. The honesty she crafts into each track is offset by her stubborn, even defiant, nature, which gives her music a hopeful silver lining.
Hannah is not only a daughter of the American south but also of the Muscle Shoals legend Walt Aldridge. She launched her career with her 2014 debut ‘Razor Wire’ in which she worked with The 400 Unit (Jason Isbell ) and recorded one of his songs on the album alongside Brad Pemberton of The Cardinals (Ryan Adams). The debut-album drew attention of music critics and sent her touring across the world, the live scene really taking a hold of the singer early on seeing as over the last 7 years she’s played in over 10 different countries. Her second full- length album ‘Gold Rush’ features Sadler Vaden (Drivin n’ Cryin’ and Jason Isbell ) and was mixed and engineered by Allen Parker, Chief Engineer for Dan Auerbach of The Black Keys.
Presenting her new collaboration with the Swedish alternative indie label Icons Creating Evil Art, Hannah is now launching her first ever live-album ‘Live in Black and White’ recorded in London as a statement of her desire to get back to the roots of why she started down this path. While her studio records feature full bands and impressive collaborations this live album narrows in on the heart of the music – Hannah and her guitar, striping the songs down to the raw and intimate sound of when she first wrote them. She tells us, “I start writing with ‘this is how I’m feeling, and I need to talk about it.’ Doing that helps me sort out my own thoughts on it. My music is an introspective look at the things that happened in my life. It’s me trying to sort through and put feelings into words”BAND WEBSITE