Hannah Crossrose Takes the Wheel with “Passenger Side”

Melbourne-born siren Hannah Crossrose returns with “Passenger Side,” a track that feels less like a song and more like a moment of reclamation, produced by Josh Potter at Umbrella Studios. The alt-country anthem trades in both grit and grace, building a sonic highway for anyone ready to leave the backseat behind.

Crossrose’s ethereal voice, already known for stopping noisy pubs cold, cuts through the mix like a guiding light. There is a haunting softness to her delivery, but beneath it lies a storm of determination. “Passenger Side” is not about burning bridges; it is about finding your lane, gripping the wheel, and realizing your capacity runs deeper than you thought.

The production is lush yet spacious, layering soaring pedal steel, grounded acoustic textures, and cinematic flourishes that mirror the song’s theme of wide open possibility. It is not hard to picture this track rolling over the credits of a road trip film: headlights cutting through the night, the horizon endless, the choice yours.

What makes “Passenger Side” stand out is not just its message; it is the duality it embraces. Crossrose does not demand you take control right this second. She acknowledges the in between, the moments when sitting shotgun is still part of the journey. That honesty makes the song hit harder; it validates the struggle and celebrates the breakthrough.

After captivating audiences across Australia, the UK, and Dublin, including the iconic Ruby Sessions, and landing spins on outlets like Triple J, MTV Australia, and CMT, Hannah proves once again she is not just another voice in alt country. She is carving her own road and inviting us to ride along.

“Passenger Side” is more than a single; it is a reminder that the driver’s seat has always been waiting for you.

Passenger Side is about reclaiming power. Was there a personal moment that pushed you to write it? 

After spending years chasing after dangling carrots to no avail, I realized that no one, no man, is going to control when and when I cannot take the wheel. I wrote the song as an ode to myself, to trust my intuition and to trust my capacity to manage the driver's seat. Instead of waiting for someone to give me the green light, I wrote that song and decided to embark on a journey overseas to play music in the UK and Dublin on my own. It was the most empowering musical decision I’d ever made, and even though I was scared, I was determined and ended up making so many beautiful connections at shows and open mics.

Your voice has been described as siren-like. How do you channel both vulnerability and strength in your delivery? 

I feel like my natural singing voice, just like everyone else’s, can be a gateway to the soul. It’s one of the few things I don’t attempt to overthink anymore; I just feel it. I feel very deeply, and I’ve decided that it’s a strength. Acceptance has been able to help me channel vulnerability into my lyricism, and the connection between my love for mythology and people likening my voice to a siren has me naturally leaning into that space.

You have played intimate listening rooms and rowdy pubs. How does performing in different spaces shape your connection to this song? 

It strengthens my connection to the song through witnessing a sense of universal connection with the crowd, regardless of who they are, where they’ve come from, or how many beers they’ve sunk. When I invite people to sing the line “I spent too much time on the passenger side,” people from all walks of life sing it. It builds upon my connection to the song in that it can go beyond my story alone. 

What did working with Josh Potter bring to the production of this single? 

I loved working with Josh! He’s an extremely passionate and determined individual who understood my vision clearly. He was able to cultivate a very collaborative space, which was not only empowering for me but also showed his sensitive ability to know when it was time to drive and when it was time to take a back seat. For example, when I wanted to experiment with different melodies with the guitarist (Christian Foyle) or try different harmonies, this was always encouraged; however, Josh is also a drummer, so it was great to see him speak life into the song through his expertise w/Arlo (drummer). He has a very tentative and precise ear for detail, which is what makes his mixes so special. He understood the essence of the song and genre I was in, which is what gave the song its richness and Nashville Sound. 

You call yourself your new favourite alt-country siren. What do you want listeners to feel when they first discover you? 

My music might more so resonate with the deep feelers, so my hope is that although some might be first lured in by the music and ethereal visuals, there’s space for the listener to lean into their own feelings and attach their own story to the sensitive and fierce messages I share.