American singer-songwriter Maren Morris made her long-awaited return to the UK last week, playing a headline show at the O2 Academy Glasgow for the first time since 2019. Having released several albums since her last headline tour here, fans were eager to hear their new favourites as well as some old Maren classics, but was “The Dreamsicle Tour” the show we expected?

London-based pop newcomer Bea & her Business, captivated the crowd with a confident performance that set the stage for Maren Morris. Her fresh, unique sound combined bright pop with genuine emotion, creating an energetic but authentic experience. Her powerful vocals effortlessly transitioned between dramatic choruses and softer moments. 

Highlights of her set included her breakout hit ‘Born to Be Alive’, which had the audience singing along, with a stripped-back piano ballad that showcased her impressive vocal range and immediately caught the audience’s attention. I heard people around me saying they hadn’t heard of her before the set but were looking her up on Spotify and adding her songs to their library right in front of me.

Bea’s charm and humour made the crowd feel connected, proving she can handle larger venues. I had waited a year to see her, and her performance exceeded all my expectations. I went in with little knowledge of what to expect, but I was pleasantly blown away!

When Maren finally took the stage at roughly 8:50 pm, the audience’s screams filled the entire O2 Academy. As the house lights dimmed, a warm amber glow stretched across the stage, cutting through a swirl of smoke to set the scene. The first chords of ‘Cry in the Car’ sounded out, and Maren appeared in a stunning sparkling skirt, guitar in hand, her silhouette surrounded in gold light. Her voice cut cleanly through the mix, confident, rich, and effortless as the audience sang back every lyric. It was a commanding yet grounded entrance, perfectly in tune with her down-to-earth charm.

She flowed effortlessly into ‘80s Mercedes’ and ‘People Still Show Up’. She moved across the stage with ease, her connection with the audience electric yet authentic. Between songs, she chatted casually, sharing stories about the tracks and joking with the dedicated fans pressed against the barricades. The staging leaned more towards intimacy than spectacle, with just a few overhead lights, haze on stage, and a subtle glow that complemented rather than overshadowed her performance. 

Her new material blended effortlessly with her big hits. Songs like ‘Cut!’ and ‘I Hope I Never Fall in Love’ showcased her evolving musical style, with less radio polish and a more raw edge to them. The production remained simple, with only subtle lighting changes and a few dynamic colour washes. Morris was mainly framed in soft amber and dark violet hues. At times, the stage looked almost empty, but this seemed deliberate, allowing her voice and the stories within her songs to shine.

Midway through the show, the pace slowed for ‘Bed no Breakfast’, one of the night’s most moving moments. Maren’s delivery, accompanied just by quiet keys and light guitar, was lovely. She followed it up with ‘too good’ and the cheeky, rebellious ‘be a bitch’, showcasing her ability to turn self-reflection into empowerment without falling into cliché.

Morris struck a balance between arrogance and honesty throughout the night. ‘Grand Bouquet’ soars with heartbreaking harmonics, and ‘Dreamsicle’ casts a dreamy, cinematic spell over the Academy. Each shift felt meticulously planned — never abrupt, always with a sense of narrative. It seemed as if the setlist itself told a story about development, tragedy, and redemption.

Then followed the fan favourite, ‘The Middle’. The room transformed with the first synth drop. What started as a country-themed night evolved into a full-fledged dance floor. Every word was sung like an anthem by the audience, which included long-standing supporters as well as newcomers. Morris smiled mid-song, clearly feeding off of the excitement. For a moment, it felt like the O2 Academy had doubled in size.

One of my favourite moments of the show was the performance of ‘Lemonade’, which had the entire crowd singing along to every word, Maren even mentioned it being the loudest singalong they’ve had on the whole tour. This was incredibly special and just proves the rumours that Glasgow audiences are some of the best in the world are true.

Maren then performed a few more tracks from her new album before surprising the crowd with an outstanding cover of ‘Talking Body’ by Tove Lo. This was very unexpected as Maren had only performed it in one city in the US beforehand, but she decided to add it to the UK setlist, and all the younger fans were obsessed! Surprisingly, a lot of the crowd didn’t seem to know the song, but that’s kind of expected given Maren started out in country music, which is a complete 180 from Tove Lo’s dance/pop music. This particular song really showcased her vocal power; some of the high notes she was hitting sent chills down my spine.

After this, Maren then performed some more stripped-back songs before jumping into her breakout hit ‘The Church’, which had the entire crowd clapping, waving their arms, and singing along. Aside from ‘The Middle’, ‘The Church’ was easily the loudest song of the night. This section of the show is always the one that goes viral online, and having witnessed it myself, I can see why! The whole crowd turns into a sea of waving hands, smiles on everyone’s faces, and everyone singing their hearts out. It’s always the perfect song to include in the setlist. Then came one of her most underrated songs, ‘Because of Course’, which was such a pleasant surprise because she had left it off the setlist on previous tours.

The show then came to a close with one of her biggest songs, ‘The Bones’. It was the kind of finish that reminded everyone why she’s one of the most captivating artists in today’s music: grounded, resilient, and genuine. The song erupted into a chorus that filled the whole venue, with every voice repeating the lyric: “The house don’t fall when the bones are good”.

Review and all Photography by K Gilfillan Photos by @kgshoots_ for THE SONGBIRD HQ