When British singer-songwriter Harriet steps onto the stage at the Murray Theater, she will do so knowing something rare has already happened: three consecutive nights have sold out in a venue prized for its intimacy as much as its history. For an artist whose work thrives on emotional proximity—quiet moments, deliberate phrasing and what she calls “torch song” passages—the setting could hardly be more fitting.

The three Murray performances (Feb. 5-7) are not only sold out—they also mark a notable milestone in Harriet’s career. The Murray Theater dates represent the opening stop of her first U.S. tour, a distinction that places Murray at the very front of an international itinerary. While this may be a first introduction for some American audiences, Harriet arrives with a well-established global reputation, having built a devoted following across the U.K., Europe and Australia through charting releases, televised performances and acclaimed live shows.

“It’s a privilege to have the opportunity to perform in such a special, intimate space like this,” Harriet said. “I know I’ll be able to connect with everyone on a deeper level, given that we are all so close to each other in the room.” She noted that the Murray Theater’s scale naturally complements her stripped-back arrangements. “Those ‘torch song’ style moments really stand out in the show in smaller spaces. And of course, being able to see everyone’s faces and reactions is lovely. I enjoy that.”

Harriet’s career has been defined less by spectacle than by precision. Her recordings and live performances lean into classic songwriting traditions—melody-driven, lyrically direct and emotionally unguarded—while still sounding unmistakably contemporary. That balance has helped her build a loyal following, particularly among listeners who value music that invites reflection rather than distraction.

One song that has evolved significantly for her over time is “Mountain,” a track she cowrote with legendary American songwriter John Bettis, known for his long-running collaborations with Richard Carpenter of The Carpenters. While the song began as a deeply personal piece, Harriet says its meaning has shifted in performance.

“When writing and recording it, the song was very personal to me,” she explained. “But performing it live now, it feels like a message I really want to share—one of ambition, encouragement and intent.” Unlike many songs about overcoming obstacles, she said “Mountain” focuses on the decision to act. “It’s about the intention of doing so, which is the first step. When I sing the song live, I kind of feel like I’m having a deep, encouraging chat with a great friend.”

That sense of emotional exchange is central to Harriet’s work, but it comes at a cost. Touring, she says, requires a careful balance between giving fully on stage and protecting the energy needed to do so night after night. “I put a lot of myself into my performances,” she said. “It’s so essential for me to feel everything deeply when I’m singing and so it takes it out of me for sure. But it’s also incredibly energizing.”

On days without shows, Harriet seeks quiet and routine. “A perfect day off consists of a long sleep, some great coffee, exercise and some aimless wandering of some sort,” she said, laughing. “In the UK we call it ‘pottering’!” Despite a career built on public performance, she describes herself as someone who recharges alone. “I am definitely someone who recharges by spending time on my own… despite being a performer and loving being around people.”

Her listening habits away from the stage may surprise some fans. While her own music often evokes classic pop and jazz influences, her workout playlists skew harder. “The biggest surprises would probably be what I listen to when working out—I love the rockers; ZZ Top, Led Zeppelin,” she said. “But mainly in the gym, it’s ABBA.”

Another cornerstone of her private listening is choral music, particularly the work of British composer John Rutter. “That sound is very emotionally charged for me for various reasons,” Harriet said, noting that it is especially meaningful during the Christmas season. “I tend to put music on when I need to ‘go somewhere.’ And of course, as you’d expect, all the ’70s classics that I love singing are always on the speakers.”

Like many artists navigating a demanding industry, Harriet has faced moments of doubt. She is candid about questioning whether to continue at various points in her career. “Yes. The music industry is tough,” she said. “I have had moments where I have doubted myself and whether it’s all worth it.” What consistently draws her back, she said, is live performance. “It’s always been performing live that has brought me back to a positive place.”

For Harriet, music’s purpose extends beyond self-expression. “I love helping people to feel things through music,” she said. “It’s so powerful, and so when I’m having a down day, I just remind myself of what the music means to other people, my fans, and that it’s not just about me… it’s about all of us.” She credits resilience as essential to longevity. “I am also pretty relentless and resilient. I believe it’s the only way you can be to keep going in this industry during the difficult times.”

As Murray audiences prepare for three nights with an artist many will be seeing live for the first time, Harriet hopes the experience lingers beyond the final note. “I hope they leave feeling something,” she said. “Whatever they needed or wanted to feel again or wherever they needed to go again emotionally. Joyful, connected, melancholy, reflective, comforted. All are necessary.”

Ultimately, she added, the goal is simple and timeless. “I hope they ‘get the feeling again’—and of course, I hope they come again.”

For a theater built on shared experience and an artist devoted to emotional honesty, the pairing feels deliberate. In the quiet between songs, with the audience only feet away, Harriet’s music is likely to find exactly the kind of room it needs.