Photo of Miya Folick by Michael O’Connor
The Pageant has been a venue I’ve wanted to shoot photos at for a while, and after Maren Morris’ stop there on her Dreamsicle Tour, I was most definitely not disappointed. The tour delivered a night of contrast and cohesion, with both artists utilizing both of their unique sounds to deliver a show full of vulnerability and fire.
Miya Folick opened, blending older tracks with tracks off her newest album Erotica Veronica, including the new single “Elton John” from the album’s upcoming deluxe edition that is set to release on January 2nd. From the bottom of my heart, I can’t wait to see how far Miya goes, her voice is one of the purest I’ve had the opportunity to listen to all summer. It felt like each note was suspended in air and given depth from the shimmering disco ball lights above. Her set felt deeply personal, and her ability to turn introspection into a connection with the audience made the room feel smaller, closer, and so much more personal.
Then came Maren Morris, stepping into a glowing white set framed by a wall of speakers that shook the crowd. She opened with “Cry in the Car,” a track that set the tone for a night of heartfelt emotional release and pop-country notes. Neon lighting bathed the stage as backlit hues shifted with each mood—cool blues, fiery pinks, and a golden warmth that closely matched her dynamic and expressive vocal performance. One of the biggest eruptions came when the opening chords of “GIRL” rang out. Cheers surged like a wave, and Morris leaned into the moment and smiled to the crowd. Her set was an outstanding performance that balanced vulnerability with power, and the production elevated every single beat.
Together, Folick and Morris offered a night that moved from an intimate sparkle to full-throttle celebration. The Dreamlike Tour was a showcase of talent and a reminder that pop and country can coexist beautifully when artists lead with heart. | Michael O’Connor
