Hannah Cameron is renowned for her ability to knock the wind out of you with her muscular guitar and a voice that could melt tar. There’s an unwavering strength to her poetry, matched by the weighty warmth of a baritone Gretsch, and an effortless complexity to her craft.
So honed is her playing and poetry in fact, that “I don’t know how she does it” is a common whisper passed among audiences at her shows. And control – of her soaring voice, her deft guitar lines and her powerful narratives – is a thread that runs deep.
Hannah is also quietly one of the industry’s most in-demand performers, touring and playing with The Paper Kites, Missy Higgins, Grand Salvo, On Diamond, Mimi Gilbert and more. She has released two albums, I Lay Where You Lie (2018) and Blow My House Down (2015), and together with her 2020 single ‘Backsliding’ has seen airplay, support and praise from the likes of triple j, Double J, Triple R, Beat, Happy, Mixdown, Forte Magazine, Scenstr and more.
In 2023, Hannah returned with ‘Take The Blame’, lifted from her forthcoming album Holding Pattern. Paired with new single ‘Smells Like Leaving’, the record sees Hannah Cameron explore feelings of moving beyond stasis across 10 expertly crafted tracks.
Holding Pattern traces a flight path over her recent life, inviting us to listen as she examines her recurring tendency to wait for someone else to lead the way forward: out of a relationship, out of lockdown, back to herself. It’s the idea of stasis – stuck in-between action and apathy – that Holding Pattern so bravely and eloquently explores.
Whether it’s feeling frustrated by small talk and craving emotional intimacy (‘Nothing But Time’, ‘Other People’s Problems’), bringing lightness and humour to existential dread and unspoken conversations (‘Repeat’, ‘The Wrong Way’), or celebrating the good in a relationship that didn’t work out (‘Haiku Song’), Cameron walks and tumbles and stands up strong again as she questions the role she plays in cycles of behaviour that no longer serve her.
Raw… its arrangements are where Cameron shows her majesty and discipline as a[n] artist.
– AAA Backstage
Holding Pattern was written over three years under the watchful eye of producer Matt Redlich (Emma Louise, Ball Park Music) and recorded between Woodstock Studios in Naarm/Melbourne’s south side and Redlich’s Abbotsford studio. A sonic departure from her previous work, the album was written largely on Cameron’s beloved baritone guitar and the bulk of the record was tracked live with longtime bandmates Leigh Fisher (drums) and Luke Hodgson (bass).
Many of the songs were born from limitation – imposing restrictions around the lyrical, rhythmic and harmonic content as a means of accessing greater creative freedom within those set parameters. It might sound counterintuitive, but it was these guardrails that created the space for Holding Pattern to become Hannah Cameron’s richest, most expansive body of work yet.
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