Maren Morris Reflects on Coachella, New Album "Dreamsicle," and Life’s Transitions
Maren Morris is riding high after her memorable performances at Coachella, where she showcased her versatility and musical range. One highlight was her performance of "My Church" with the Los Angeles Philharmonic, a poignant reminder of the song’s enduring impact. The other was a vibrant collaboration with electro-pop DJ Zedd on "The Middle," showcasing a completely different side of her artistry.
"Singing ‘My Church’ with the orchestra, that was my first single and country hit, but you saw 10 years later the resonance it still had with the crowd," Morris shared from her home base in Nashville. The emotional weight of the song, amplified by the setting and a choir, left a lasting impression. "I always get emotional during that song, but with the choir and the setting at golden hour when we performed … and then cut to the next night with Zedd. A complete 180."
Her connection with Zedd is built on genuine friendship, making the performance feel more celebratory than nerve-wracking. The appearance of other artist friends like John Mayer and Julia Michaels further enhanced the joyous atmosphere.
This year is shaping up to be a significant one for Morris. Her fourth studio album, "Dreamsicle," has just been released. It’s a pop-leaning expansion of last summer’s "Intermission" EP, and it’s brimming with both sassy confidence and introspective reflections.
The album explores themes of modern dating from Morris’s perspective as a bisexual woman. Tracks like "Bed No Breakfast" and "Push Me Over" tackle these subjects with a blend of humor and raw desire. Meanwhile, the title track, "Dreamsicle," delves into the acceptance of impermanence. Morris sings about the fleeting nature of things, even those that seem like they’ll last forever, capturing a sense of questioning and introspection.
Morris acknowledges that a feeling of transformation permeates the album, drawing a parallel to the "Wicked" song "Defying Gravity." "I’m a massive ‘Wicked’ fan and I heavily identify with Elphaba. Her core beliefs have been so rocked that she feels so betrayed, but she also has this intrepid calmness because she knows she can’t change the entire system," Morris explained, relating the character’s journey to her own life experiences. She emphasizes the universality of reaching a point where one feels compelled to leave a situation, whether it’s a hometown or a relationship. "…Everyone comes to the point with their hometown or a relationship and been like, I have reached the finish line of whatever this was and I cannot stick around. … And that is scary."
In 2024, Morris went through a divorce from country singer/songwriter Ryan Hurd, with whom she shares a 5-year-old son, Hayes. During this difficult period, she sought support from friends like Taylor Swift and The Chicks, finding "peace and advice" in their experiences.
Ultimately, "Dreamsicle" represents a new chapter for Morris. She considers it a "demarcation line" in her life, a way to honor her younger self and acknowledge the journey that has led her to where she is now. “It’s honoring her,” she says of her younger self, “and not this ‘youth is wasted on the young’ bitterness, but more ‘thank God she got me here.’ These are several chapters of my life going into one full (album) and I’m honoring each of them. I’m so happy I gave myself the time to do so. This is a healing space.”
To support the album, Morris is embarking on a global tour, with the North American leg kicking off on July 12 in Quebec City and concluding on September 12 in Atlanta. She has been meticulously planning the tour’s production for the past year. “are 3D now and not just an email PDF.”
Since the pandemic forced the cancellation of her 2020 RSVP Tour, Morris and her team have learned to be adaptable and flexible when it comes to touring. “Since COVID we’ve been flexible and adaptable to the touring scale, which we learned to do out of necessity. It’s worked in our favor because playing some intimate venues, we can get our bearings from Day 1,” she says. She aims to create a vulnerable, fun, and escapist experience for her fans. “I just want (the shows) to feel like a vulnerable, fun experience and escape. I’m really setting an artistically high bar for myself, and I want it to feel human to the fan buying the ticket.”
While the visual aesthetic of "Dreamsicle" hints at a ’60s-inspired "Beach Blanket Bingo" theme, Morris is opting for a more organic stage design, reminiscent of her last tour. She prefers the ambiance of trees and soft lighting over the "crazy LED walls and low fog and hydraulic lifts" she used on her "Girl" tour in 2019.
“I love a lamp and a rug and some instruments. Those have always been touchstones to me, like, can these people actually play and sing? I do love an over-the-top show, but for what I do, I think there is a way to blend both worlds and bring it back to an organic space of real humans making music,” she says.
Her son, Hayes, will once again be joining her on tour. He’s become a seasoned traveler who enjoys the perks of being on the road.
Morris acknowledges that touring with a child requires adjustments. “Your day is a lot longer and a lot different,” she says, but she also appreciates the unique perspective and joy that Hayes brings.
“The biggest gift with kids is experiencing things through their eyes, and he’s getting me out of my comfort zone of the bus and venue and we’re going to the local zoo and park."
As for the setlist, Morris plans to incorporate many of her new songs, alongside familiar favorites and perhaps a reimagined version of Billy Idol’s "Dancing with Myself." She describes the sound of her new music as ranging from "living in organic spaces to heavily layered synths and vocal stacks."
Two standout tracks, the Jack Antonoff-co-produced "People Still Show Up" and the catchy "Too Good," reflect Morris’s diverse musical influences. During the writing and recording process, she immersed herself in the music of Patty Griffin, Foy Vance, and The Cardigans.
“I was in this deep, deep ‘70s mindset,” she says. “There was a lot of vulnerability and chaos in my songwriting, but also a lot of fun and pop. … I never feel like I have to change anything.” This commitment to authenticity and artistic freedom is at the heart of Maren Morris’s continued success and evolution.
