Maren Morris – Kiri Te Kanawa Theatre, 11 February 2026: Review & Photo Gallery

Rev Orange Peel and Photos by Leonie Moreland

12th February 2026

Maren Morris performs a belter of crossover Country styles whilst casually raising the roof repeatedly, with her Dreamsicle Tour 2026.

Last in New Zealand in 2018, she has developed her songwriting styles to encompass a heavy dose of inspirational Indie Pop especially with her Dreamsicle album of 2025 from which she draws many of her songs.

A strong start with Cry in The Car. The stripped back band of lead guitar, drummer, bass and keyboards have taken their place and when Maren Morris strides on, she is a diminutive pocket rocket! This is the first time I have seen her in concert.

Maren Morris was born and raised in Arlington Texas, and well before her teenage years her parents discovered her remarkable vocal talents.

At eleven years old and she had been entered into a talent quest styled in similar fashion to the celebrated Grand Ole Opry, and she had the epiphany that music and singing was her calling.

She had a first album Walk On released at age fifteen, the majority her own songs which were released on an independent label, largely financed by her parents.

In her early twenties she made a move to Nashville and was able to establish herself as a professional songwriter. Her debut album on a major label arrived with Hero (2017). She appeared on stage in New Zealand a year after that.

80’s Mercedes from that album is the next song in after opening with the vibrant and dramatic Cry in The Car. Both songs immediately showcase strong indie Pop sensibilities.

We heard Jack Gray from northern Queensland open the evening with a short set of Power Pop songs. The dynamic propulsion comes from the dominant forward push from the drummer, but the lyrics lean heavily towards Indie Folk.

Earnest and generally upbeat and propulsive, with the drums adding the necessary forward momentum.

I expect we will see him back soon.

Maren Morris does not hold back from unleashing her powerful vocals in her higher register.

She dials it back on the intensity with People Still Show Up, a strong walking bass leading the way as Morris delves into her strong R’n’B roots.

Does she tap into elements of Rap? There is the rapid lyrical flow of Be a Bitch, the intent behind this one is of settling a score.

Rich is from her Hero album and comes the closest to classic Rock’n’roll energy and is graced with powerful rhythmic drive.

Rock’n’roll pushes toward classy Southern boogie with Push Me Over. The lead guitar taking some galvanising judicious solos.

One of her most interesting projects is playing with the Highwomen, a quartet consisting of Brandi Carlile, Amanda Shires, Natalie Hemby and Morris. Of course, this is a direct homage here to the Highwaymen of Waylon, Willie, Johnny and Kris fame.

At times this music does take me back to the latter sixties of the Byrds, especially when Roger McGuinn had conscripted Clarence White, to meld classic country cadences with elements of psychedelia.

Best illustrated by Carry Me Through. The closest to contemporary Nashville sounds and somewhere amongst the three guitars are some slide phrases.

Whilst much of this music is high energy Indie Pop, the distinct Country roots remain like an anchor. Both Grand Bouquet and album title track Dreamsicle achieve this. Jangle guitars sparkle like ringing bells and sound so sweet.

Morris is not one to hold back on strong opinions and in recent times has championed many liberal causes like supporting the LGBTQ movements, championing the cause of Black musical artists and women in general in the music industry.

One last cut from Dreamsicle at the close. Because, Of Course starting with a gentle and melodic piano coda and the voice is subdued at first, but builds in intensity as the bass walks this one through.

Last song raises the roof with The Bones, heavily laced with rocking guitar licks.

Maren Morris is absolutely in control and self-assured as she closes her dynamic set.

Rev. Orange Peel