Riley Green Brings Southern Heat to Birmingham’s O2 Academy

★★★★★ (5/5)

Riley Green playing to a sold-out crowd at Birmingham’s O2 Academy. Photo by Dan Rose

After parking my car and approaching Birmingham’s O2 Academy, it was clear the pre-show atmosphere was unlike anything I’d seen at this venue in quite some time. The queue snaked all the way up the hill and around the corner toward the nearest car park—a testament to the anticipation for this sold-out show. As I passed the line of fans and neared the entrance, I spotted two bootleggers already set up outside, selling unofficial merchandise—hoodies, trucker caps, t-shirts, and even cowboy hats—before the gig had even begun. It’s rare to see bootleggers so early; usually they appear only after a show has ended.

The crowd itself was a spectacle. Fans came dressed for the occasion in western-inspired outfits, with many men sporting moustaches—a playful nod to the viral “Riley Green Moustache Challenge” that trended on TikTok earlier this year. The challenge took off after Riley shaved off his iconic moustache in May 2025, sparking a wave of enthusiasm (and some persuasion from partners, mine included) for men to grow their own.

The evening opened with two support acts: Erik Dylan and Hannah McFarland. First up was Erik, a respected songwriter whose work has been recorded by country heavyweights such as Luke Combs, Kip Moore, Eli Young Band, Justin Moore, and Riley Green himself. With four albums to his name between 2016 and 2023—including his acclaimed debut ‘Heart of a Flatland Boy’—Dylan proved why he’s considered one of modern country’s most authentic voices.

Next came Hannah McFarland, whose résumé is as varied as it is impressive. A SAG-AFTRA stunt performer nominated in 2022 for her work on Netflix’s Cobra Kai, McFarland began her journey as a multi-sport athlete before carving a path as a musician and songwriter. By the time her set wrapped up, the crowd had filled the venue wall-to-wall, buzzing with anticipation for the headliner.

Riley Green’s five-piece band took the stage first, setting up around a lone mic stand wrapped with duck whistles—a signature nod to Riley’s “Duckman” persona, born from his passion for duck hunting in Alabama. When Riley himself appeared, he wasted no time, grabbing a whistle to greet the audience with a duck call. Beside his mic stand sat a box topped with plastic red cups and shot glasses, hinting that the night ahead would be as spirited as it was musical.

From the start, Riley’s confidence was undeniable. Between songs, he signed napkins and tossed them into the crowd, effortlessly connecting with fans. Dressed initially in one of his signature trucker caps, he later swapped it out for a cowboy hat, leaning further into the country aesthetic. The energy inside the venue was electric, with fans singing along so loudly that Riley often stepped back from the mic to let them carry the chorus. As the night went on, the packed venue grew swelteringly hot, but the crowd showed no signs of slowing down.

Highlights from the set included a heartfelt rendition of Toby Keith’s “Should’ve Been a Cowboy,” a spirited duet with Erik Dylan on Alabama’s “Dixieland Delight,” and a moving performance of “I Just Need You” alongside Hannah McFarland, from Riley’s ‘Don’t Mind If I Do (Deluxe)’, released on August 29, 2025. During the latter, Riley and Hannah paused mid-song to call for security when a fan needed help, demonstrating their commitment to crowd safety.

Green also shared some personal reflections, noting that “There Was This Girl” was his first Number One hit on country radio, and thanking fans abroad for helping keep country music alive beyond the U.S. His setlist also featured fan and my personal favourites like “Jesus Saves,” “I Wish Grandpa’s Never Died,” and “If It Wasn’t for Trucks,” each met with raucous singalongs.

Riley Green’s sold-out Birmingham show was warm, electric, and unapologetically country. Blending rowdy anthems with heartfelt ballads, he transported the spirit of Alabama to the heart of the UK, leaving fans buzzing long after the final note.