Megan Moroney
O2 Ritz, Manchester
5th September 2024
Megan Moroney wows crowds at a sold-out Manchesters O2 Ritz. Charm, glitter, barbie doll looks with a pop and rock sensibility abound as a small-town girl sings plaintive country songs of love, heartbreak and nights on the lash. It’s an incongruent mix that undoubtedly works where talent runs in tandem with a slickly marketed product.
Out in the crowd, early arrivals heading for the front sport pink Stetsons, mini dresses and obligatory cowboy boots; refugees from Shania Twain’s tour earlier this summer. At the back loom a few big beardy guys complete with truckers caps; lost extras looking for a Trump rally. Mostly though, tonight’s crowd are regular Mancunians, couples and groups of women mostly aged twenty to forty something.
The sounds from a venue’s PA sometimes seem random and muffled. Tonight, waiting for Megan Moroney has a very different feel. Someone’s done their homework and the volume’s up. The marketers have identified their audience and they’re building a party mood. One Direction, Sabrina Carpenter, The Jonas Brothers, Justin Bieber and Fall Out Boy boom from the PA as the mass singing around me competes with the system’s volume. Yes, there are country stalwarts in our midst but at it’s heart this is a pop crowd.
As the lights dim, Megan’s band play in the half-light. Then, suddenly she’s on stage, statuesquely silhouetted above them. It’s an impressive entrance. She opens with Lucky; upbeat honky-tonk country, a tale of beer, good times and an intimation that tonight’s going to be someone’s lucky night.
I’m Not Pretty follows. It’s a mid-paced ballad with a great melody and infectious chorus. A paranoid tale of an ex-boyfriend’s girlfriend trawling through old Instagram images. As a song it’s early evidence of Moroney’s skills as a songwriter and talented wordsmith but what really drives the track is its slide guitar refrain. We’re not talking note for note plagiarism here but George Harrison’s playing on My Sweet Lord must surely have been a source of inspiration.
Sleep On My Side introduces the dual themes of opposites attracting alongside a promiscuous boyfriend. It’s a song buoyed by some cutting lyrics. “I’m a glass of red wine, you’re a bad idea on ice.” “I sleep on my side, you sleep with everyone. “A little later No Caller ID brings more autobiographical storytelling. Slow, sad, emotive country featuring a no good ex-boyfriend who can’t let go and she can’t resist.
As the show rolls on the wordy Hair Salon takes us back to Megan’s roots. Small town women gossip as they share their news at a hairdressers. Classic country themes and sounds continue with Georgia Girl as she delivers a warning to a promiscuous ex-boyfriend.
Man On The Moon takes another swipe at men. This chugging rock track brings synchronised, syncopated moves from the band and more impressive slide guitar. But everything’s beginning to look a little too choreographed as her very masculine band, vested and tattooed, with matching pink Emo Cowgirl Country logos, strut their well-rehearsed moves.
Why Johnny brings a change in pace. It sees Megan sat alone on stage. It’s just her, her acoustic guitar and a wordy tale of heartbreak. If we needed proof of her raw talent as a singer and songwriter we need look no further. Maintaining the mood, Hope You’re Happy sees the band return for a seated acoustic performance. It sounds impressive and it’s clearly trying to evoke a vision of jamming on a back porch somewhere in the American South. Unfortunately, it feels a little too cliched and too well rehearsed to look genuine.
Plugged in once again, Miss Universe brings a darker, heavier rock sound. It sees Megan presented with a bouquet of flowers as its titular character before Girl In The Mirror slows things for another sad tale of male induced self doubt, with Megan’s voice to the fore. Tonight, all roads lead to Tennessee, at least to Tennessee Orange, Moroney’s breakout hit recounting rival conflicts of football and love. Is it well received? Of course, it is.
Inevitably, she’s back for an encore. Trading on her Emo Cowgirl Blues tagline we get a new album title track, Am I Okay? Breaking the mould, it’s more upbeat musically and lyrically. For once we’re introduced to a man who doesn’t disappoint. Can we really be closing without disappointment and heartbreak? And Megan Moroney; is she okay? Tonight, she’s shown us she’s an accomplished performer and a writer of heartfelt songs who is more than okay. She’s a real talent.
Yet somehow there’s a feeling of nagging doubt and an unsavoury whiff of money, manipulation and overt marketing at work here. A brief interaction with Megan’s “people” reveals her to be heavily “curated.” – their words, not mine. There’s a real determination to control her public image, especially visually. On stage, her dress, her band’s moves and her attire are all carefully co-ordinated, designed to compliment her video output. Anyone wondering about the dearth of photos accompanying this review need look no further than Megan Moroney’s management. Images that don’t capture the right “look” are summarily rejected.
As for Megan Moroney herself, her talent is beyond doubt. Her success is well deserved but are we seeing the real Megan Moroney or is she veiled behind a market managers dream and the lure of big bucks and stardom? I guess time will tell.
Megan Moroney can be followed on Facebook | Twitter |and their website
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Words and photos by Trev Eales. More work by Trev on Louder Than War can be found at his author’s profile.
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