A lot has changed for Hannah Dorothy in the last five years. The former professional surfer was forced to hang up her board after a career-ending injury. But when one wave closed out, another opened—this time in the world of songwriting. What began as a creative outlet during the pandemic has catapulted Hannah from a complete unknown to a sought-after songwriter across Europe’s most high-profile music contests.

Within a year of writing her first pop song, Dangerous—co-written with and performed by Norwegian artist Farida—the track landed in the final of Melodi Grand Prix, Norway’s national selection for Eurovision. It later found its way onto Netflix in the Norwegian crime drama Gangs of Oslo.

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“Yeah, talk about zero to 100,” Hannah exclaims.

But Dangerous wasn’t born in a glossy studio or at a carefully planned writing camp. In fact, Hannah almost missed the opportunity altogether. “I was literally in a field watching motocross when I got the call to join the session. I thought they were joking!” she recalls. “I was panicking because I had no laptop, no headphones—nothing. My phone was overheating. I had to sprint to my car and hope for the best. Somehow, from the middle of nowhere, Dangerous came to life.”

Despite the chaotic start, the track became a fan favourite during the competition, receiving rave reviews and public votes which sent it straight to the coveted grand final. Hannah is still in awe of the experience. “I didn’t even realise how massive Melodi Grand Prix was. The whole show was in Norwegian—I couldn’t understand a word! But I was there for the final, and seeing my song performed live on TV, with the crowd singing along, was just
 surreal. The response from the fans was incredible.”

That might have been enough excitement for any songwriter’s debut, but fate had more in store. Just as Hannah thought the buzz was dying down, Dangerous was picked up for a sync placement in Gangs of Oslo. “Any sync pitch is career-defining, but to have it happen so early? Unreal,” she says, shaking her head. “I mean, the song fit the vibe of the show perfectly, but still—I was watching Netflix, hearing our song, and thinking, ‘Is this actually happening?’”

If Dangerous was her breakout, Eurovision became Hannah’s obsession. “I caught the bug for sure. What I love about writing for Eurovision is that anything goes. You can have a big pop ballad, a face-melting metal anthem, a Euro disco banger—all in the same show. It’s the biggest songwriting competition in the world. And they really respect the songwriters. That means so much.”

Hannah’s versatility proved she wasn’t just a one-hit wonder. Earlier this year, she co-wrote Worship You, performed by UK artist Grace George, which made it all the way to the grand final of San Marino’s Una Voce per San Marino.

“That one felt special,” Hannah says. “We were definite outsiders. I’m from the UK, Grace is from the UK, and here we were in this contest with over a thousand competitors, trying to represent San Marino. But Grace smashed it, and the song meant a lot to her. I think people could see that.” And they did. The song took on a life of its own as Grace performed Worship You on National TV in San Marino, and again, the viewers voted to send it straight to the final.

For Hannah, storytelling is at the heart of her work, no matter the genre. “I want people to hear the songs I write and connect with them,” she says. “That’s all I want—that people listen, and want to listen again. I just love being a songwriter. It’s that simple.”

Her approach is refreshingly unpretentious, even when discussing the wild world of Eurovision. “Honestly, it’s freeing. I’ve written songs I never thought I’d write—stuff with ‘80s synths, orchestras, weird time signatures. One time I had to Google what an ocarina was because someone suggested it in a demo. I definitely can’t play one,” she laughs.

When asked what’s next, Hannah says, “More songs, more contests, more cups of tea. But mainly, I want to keep writing songs that make people feel something. Whether it’s happy, sad, empowered, whatever—I’m here for it.”

And does she miss surfing? “Sometimes! Though there’s definitely less risk of injury now. Unless I’m changing my guitar strings
 I still feel like I’m going to take my eye out one day,” she says.

From fields and overheating phones to stadium stages and streaming platforms, Hannah Dorothy’s success has been anything but typical—but then again, neither are her songs. And that’s exactly how she likes it.

SPIN Magazine newsroom and editorial staff were not involved in the creation of this content.

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