Megan Moroney – Cloud9 Tour – the sole show in Germany at Carlswerk Victoria in Cologne

A pink or baby-blue mini dress, cowboy boots and a matching cowboy hat or trucker cap. That would be the dress code for Friday night’s Megan Moroney concert at Carlswerk Victoria in Cologne. The random boyfriend or dad along for the ride as well.

The close to capacity mixed age and genre crowd leaning towards mostly Gen Z girls waited patiently for about 20 minutes or so in the lineup wrapping around few blocks. The unusual high security check at the gates, including body tap-down slowed down the crowd to get in the venue.

Colin Lynch Raises the Energy with Acoustic Set

Pennsylvania native Colin Lynch took the stage with his acoustic guitar, bathed in steady blue light as his name was projected across the large LCD screen behind him. In a half-hour, seven-song set, Lynch raised the already energized crowd’s mood even further, mixing his own material with a handful of covers.

His style fits comfortably into the increasingly crowded field of young male folk and country singers popular today. His connection with the audience was undeniable, particularly during Calum Scott’s rendition of Robyn’s “Dancing On My Own” and Justin Bieber’s “Love Yourself,” both of which prompted enthusiastic singalongs throughout the room.

Lynch also showcased several of his own compositions, including “Beach Fire Ember,” featuring a harmonica solo, and “In Due Time.” He closed the set with “4th of July Darlin’,” one of his own successful songs.

The performance was met with a huge ovation, providing a strong finish to an engaging opening set.

Megan Moroney Brings Glitter, Heartbreak and Country-Pop to GermanyMegan Moroney at Carlswerk Victoria

The audience did not have to wait long, as just 20 minutes later the headliner took the stage. First, Taylor Swift, followed by *The Best of Both Worlds* from *Hannah Montana*, blasted through the speakers, immediately triggering a massive singalong and bringing back childhood memories for much of the crowd, while at the same time setting the tone for what was to follow.

The six-piece backing band walked onto the stage, all dressed in coordinated black Western wear, and launched into a short instrumental introduction as pink clouds were projected onto the screen. Megan Moroney then appeared, dressed in a pink, glitter-covered outfit and short shorts, triggering an ear-shattering ovation from the audience.

The show opened with “Stupid” at full volume. “Medicine,” “Bless Your Heart,” “Convincing,” “I’m Not Pretty,” “Change of Heart,” “No Caller ID,” “Wonder” and “Table for Two” followed, accompanied by extensive pink and brightly coloured projections on the LCD screen. In between songs, Moroney frequently changed instruments, moving between glitter-covered acoustic and electric guitars, as well various other guitars in bright colours.

The show progressed with a well-rehearsed flow and carefully coordinated movements, with relatively little talking between songs. The crowd was ecstatic, and the singalongs started from the very beginning. Hands and mobile phones were constantly raised in the air, with fans filming and photographing the only German concert on Moroney’s tour. Despite the fact that press photography was not permitted, the audience was actively encouraged to upload their own selfies and concert photos to Moroney’s website. A QR code displayed on the screen before the show directed fans to the upload page, provided that the visitors are entering a phone number and email address for fan communications.

Moroney’s 2022 debut single, “Tennessee Orange,” went viral and launched her career into high gear. Her music combines elements reminiscent of Taylor Swift’s “Fearless” era with the polished country-pop sensibilities of ’90s Shania Twain. Visually, her stage show added another layer to that formula, with a glitter-heavy aesthetic that at times felt almost like a Barbie-inspired country-pop fantasy.

The glittery theme continued throughout the performance. The lighting was dominated by pastel pinks, blues and purples, while a spotlight followed Moroney around the stage, keeping her firmly at the centre of attention.

“Who Hurt You” closed the first part of the show. The band then launched into an instrumental section while Moroney left the stage. She returned a minute or so later in a new white outfit, with the shorts replaced by a miniskirt — while, naturally, the glitter remained.

The second part began with “Liars & Tigers & Bears,” after which Moroney finally took a moment to speak to the audience. She referred to her concerts as “group therapy,” describing them as a shared emotional space where she and her fans can collectively release feelings of heartbreak and anger.

From there, the show continued with another string of excitement- and singalong-inducing songs: “Wedding Dress,” “Bells & Whistles,” “Cloud 9,” “Tennessee Orange,” “Beautiful Things,” “Wish I Didn’t,” “Am I Okay?,” “Sorry… I Meant Tonight” and “6 Months Later.”

Without a doubt, Megan Moroney delivered a polished, well-oiled and thoroughly rehearsed show, wrapped in glitter and colour. She remained the central focus throughout, with the spotlight frequently separating her visually from the rest of the band.

What we witnessed was full-scale American show business wrapped in country-pop, complete with all the whistles and bells that come with it. The one area where the production fell somewhat short was the sound. The bass- and drum-heavy mix often buried the guitars, while Moroney’s vocals had to compete with the dense instrumentation. Cutting back a few decibels might also have benefited the overall balance.

Still, the evening marked a significant moment for country-pop in Germany. Moroney demonstrated that the genre can command an enthusiastic audience on this side of the Atlantic, and it would hardly be surprising to see her return to Germany for a larger tour — and a larger venue.

Country music remains a niche genre in Germany, which was reflected in the turnout – the Cologne show drew a solid but modest crowd of around 1,400 almost at capacity of Carlswerk Victoria (1,600). For comparison, Megan Moroney’s show at Toronto’s Scotiabank Arena (19,000 audience) was a sellout, underscoring how much bigger the genre’s pull is in North America than in the German market