Since her initial appearances on the UK's country circuit during her mid- to late teens, Maren Morris has made significant progress. At the time she was an aspiring, independent country artist with big ambitions. While it was not until her mid-20s that she broke through into the mainstream country industry in the US with her fourth studio album and major label debut, Hero, Morris has remained thankful and loyal to her UK fans who championed her in those early years. Having waited four years since her last full UK tour to return for a series of headline shows, it is little surprise that Birmingham's Symphony Hall is packed to the brim with an excited audience awaiting her latest set.

Before she takes to the stage, rising UK act Bea and her business are ready to deliver a striking warm-up moment. Landing somewhere between Marina and Olivia Rodrigo, with a little Lily Allen thrown in for good measure, Bea has a very likeable presence. But more importantly, she has the anthems to back up her persona. With a set that is driven by angst anthems, she has the audience on their feet and chanting along upon request.

After a brief interlude, Maren Morris walks barefoot in a feathered and sequinned dress to the centre stage and launches into Cry in the Car from her latest studio album, Dreamsicle. Having moved away from the country sound of her early years, her popper leanings suit her, and it's clear that she is about to deliver a memorable set.

With her set cleverly instructed to move from old-school hit to dreamsicle cut, the audience are on their feet from the first moment to the closing note, and Maren has them entranced with her personal lyrics and spoken insight.

Although it is clear there are fan favorites—80s Mercedes, I Hope I Never Fall in Love, The Middle, My Church, and The Bones—Morrow's diversity in her sound is made cohesive with live arrangements and her approachable personality.