Cooper Alan has quietly built one of the most modern success stories in country music, blending traditional storytelling with a sharp, social-media-savvy edge that has helped him connect with millions of fans worldwide. Emerging from North Carolina with a blue-collar relatability and a knack for humour, Alan’s rise has been powered as much by his viral creativity as his songwriting, culminating in his debut album ‘Winston-Salem'—a project that captures both his roots and his versatility, shifting effortlessly between heartfelt ballads, tongue-in-cheek anthems and crowd-ready singalongs.
Now, as he brings that momentum to the UK for the first time, Alan arrives at a pivotal moment in both his career and personal life. Balancing the excitement of his first UK and Ireland tour with the realities of being a new father, this latest chapter feels as much about connection as it does performance—an artist stepping onto bigger stages while staying grounded in the values and experiences that shaped him. With a reputation for high-energy, feel-good shows designed to bring people together, Alan's Birmingham performance promised to be more than just a gig—instead it was a snapshot of an artist in motion, embracing everything that comes next.
There’s something quietly audacious about walking onto a stage in a sold-out room halfway across the world with nothing but an acoustic guitar and a handful of deeply personal songs—but that’s exactly how Ian Harrison chose to introduce himself to Birmingham. Opening for Cooper Alan on his first-ever UK visit, Harrison didn’t just warm up the crowd—he staked a claim.
From the moment he joked about discovering that Brits “like beer just as much as I do,” there was an easy charm to him, but it was the music that did the heavy lifting. ‘Wish I Had' immediately established his range—both vocally and emotionally. What began as a restrained, strummed verse steadily climbed into a soaring, angst-laced chorus that revealed a voice far bigger than the minimal setup suggested. There are clear touchpoints—somewhere between Sam Barber and Morgan Wallen—but Harrison’s phrasing and lyrical vulnerability give him a distinct identity.
His most-streamed track, ‘Games,' followed with a similar dynamic blueprint: sparse verses that bloom into a chorus designed for collective release. Already, the crowd was leaning in. A well-judged cover of ‘Bruises' by Lewis Capaldi shifted the energy outward, prompting singalongs and swaying bodies—exactly the right move to deepen audience connection early in the set.
Harrison’s songwriting strength lies in emotional contradiction, and nowhere was that clearer than in new material like ‘Cigarettes.' Introduced with a wry line about loving “beer and cigarettes,” the track fused modern country textures with a pop-aware melodic sensibility. It felt current without chasing trends—a tricky balance, but one he handled with confidence.
The title track of his upcoming EP ‘Jealous' (due May 22, 2026) was perhaps the most revealing moment. A stark meditation on watching peers settle down while chasing an uncertain music career, it carried the kind of raw honesty associated with artists like Zach Bryan and Noah Kahan, yet filtered through a more polished, pop-filtered lens. “I’m scared to death I’ll always be jealous,” he admitted—a line that landed with palpable weight in a room full of twenty- and thirty-somethings likely wrestling with similar thoughts.
Even in a bustling Friday night crowd, Harrison held attention—no small feat. ‘Keep You With Me' invited audience participation, while his cover of You Should Probably Leave by Chris Stapleton could have been a misstep given Stapleton’s towering reputation. Instead, Harrison navigated it with restraint and respect, letting the song breathe rather than overreaching. Closing with ‘Not Yours,' released the same day, he delivered a gentle, wistful ballad that swelled into yet another anthemic chorus—his apparent signature. There’s a clear through-line in his work: intimacy that builds into communal catharsis. For an emerging artist, it’s a powerful formula. More importantly, it feels authentic. Harrison left the stage not just as an opener, but as someone audiences will return to see.
If Harrison’s set was about introspection, Cooper Alan’s was about explosion.
For an independent artist to sell out UK shows—particularly O2 venues—on a first tour is rare. For Cooper Alan, it feels like the inevitable result of years spent building momentum the long way: viral success on TikTok, relentless touring, and a deep understanding of how to engage an audience. Birmingham was ready—and Alan delivered.
Opening with ‘BOS' from ‘Winston Salem' was a statement of intent. Seated at a honky-tonk piano front and centre—a slightly unconventional choice for a frontman—he immediately commanded attention. By the time he leapt to his feet and launched into ‘To the Bar,' he had transformed from pianist to full-blown ringmaster, whipping the crowd into a hollering, fist-pumping frenzy.
That duality—musician and entertainer—is Alan’s greatest strength. ‘Jesus Saves' brought a shift in tone, its faith-driven message wrapped in an anthemic arrangement that had the crowd singing along without hesitation. Moments later, he was cracking open a beer and diving into ‘The Fridge,' a breezy, funk-tinged drinking anthem that turned the room into a sea of raised cups.
Not everything landed perfectly—his mention of Aston Villa and “soccer” drew playful boos—but even that became part of the show’s charm. Alan thrives on interaction, and these unscripted moments only reinforced the sense of a shared experience.
Then came the chaos—in the best way. Alan’s now-signature mashups turned the set into a genre-hopping party, anchored by ‘Can’t Dance.' Pulling two fans from the balcony for a dance-off (with beers as prizes) blurred the line between performer and audience completely. Covers like ‘Party in the USA' seamlessly wove into his own material as the band kept everything tight and propulsive.
The pacing was relentless. ‘Work' slammed straight into ‘Colt 45,' culminating in a full-throttle drum solo that felt more rock show than country gig. Yet just as the energy peaked, Alan pivoted. Returning to the piano, he disarmed the room with a self-deprecating rendition of ‘Drops of Jupiter' by Train, inviting a mass singalong that echoed through the venue like a choir. A segue into ‘Drift Away' and a sequence of ballads—particularly ‘Hard Acre'—showcased a different side: a storyteller capable of genuine emotional pull.
That emotional thread continued with ‘Starting to Show,' written for his wife during her pregnancy. Knowing his parents were in the audience and his wife and baby were back at the hotel added a layer of sincerity that cut through the spectacle. It’s this balance—raucous fun and real-life grounding—that makes Alan more than just a party act. Still, the party always returns. ‘Suit and Tie' reignited the groove with a funky, southern edge, while the closing stretch truly began next—'First Rodeo' and a euphoric cover of ‘Wake Me Up' by Avicii—sent the room into overdrive.
The final run of songs was pure adrenaline: ‘Dale Dickens (RIP),' ‘Feel Like Hell Today' and ‘Plead the Fifth' delivered with breathless intensity. A cheeky nod to Black Sabbath delighted the Birmingham crowd, while snippets of Eminem, Garth Brooks and John Denver reinforced Alan’s ‘human jukebox' persona. Just when it seemed like it couldn’t go any further, the encore doubled down: Wonderwall, Don’t Look Back in Anger, Hey Jude, Sweet Caroline, and I’m Gonna Be (500 Miles) turned the venue into a full-throated singalong.
What makes Cooper Alan stand out isn’t just the energy—it’s the control. He orchestrates chaos with precision, guiding the audience through peaks and valleys without ever losing momentum. One moment he’s leading a beer-soaked dance-off, the next he’s delivering a heartfelt ballad about family and change.
His Birmingham debut felt less like a gig and more like an event—a shared release at the end of a long week, equal parts concert and communal celebration. Alan stood at the centre of it all, grinning, conducting, fully aware of the moment. For UK country festivals like C2C or The Long Road, the message is clear: this is an artist built for big stages. And if Birmingham was anything to go by, he won’t just play them—he’ll own them.
Setlist: 1. Bitch of a Son 2. To the Bar 3. Jesus Saves 4. The Fridge 5. Can’t Dance / Party In The USA / I Wanna Dance With Somebody (Who Loves Me) 6. Work 7. Colt 45 8. Drops of Jupiter / Drift Away / Holy Ghost / Tough Ones / Never Not Remember You / Hard Acre 9. Starting To Show 10. Suit and Tie (Sixteen Tons) 11. First Rodeo 12. Wake Me Up 13. Take Forever (Hally’s Song) 14. Dale Dickens (RIP) 15. Feel Like Hell Today 16. Plead the Fifth 17. Wonderwall / Don’t Look Back in Anger / Hey Jude / You Can’t Always Get What You Want / Sweet Caroline 18. I’m Gonna Be (500 Miles) Venue: Biormingham O2 Institute Date: 24th April
