CMAT’s wit shines in intimate Record Store gigs

The self-proclaimed Queen of Dublin has been rising the ranks of pop music’s ever ebbing consciousness. Steadily, at first, and then all at once as a result of TikTok viral “Take A Sexy Picture Of Me” and its accompanying dance. Whilst still proclaiming all of her fans are “Irish or lesbian,” her intimate record store tour in the aftermath of her album release has proven new, emergent legions of groupies across the country (or, as she describes between acoustic renditions of her most beloved songs, “I only go to the finer places in life like Kingston… and Bedford… and Milton Keynes.”)

It’s no surprise how quickly she has amassed this following. Unashamedly pop culture literate, and injecting her artistry with tongue-in-cheek sardonicism and a healthy dose of camp, her set becomes as much a stand up comedy as a gig. “The first thing I’m going to do is ignore my setlist because I want to do something much funnier,” she emerges onto stage and calls the crowd into an impromptu performance of “Yellow Submarine”.

It is only one line in when she stops. “I actually can’t be fucked. I think we can all agree — objectively speaking — that my music is better than the Beatles.” Fuelled by not only the audience’s captivation but their laughter, she toys with the list of things she could say to be cancelled on the spot. “I mean, I could write Paul McCartney’s “Give Ireland Back To The Irish”, but could McCartney write “The Jamie Oliver Petrol Station”?”

As well as treating the crowd to the pre-released singles of EURO-COUNTRY, although fan-favourite “Running/Planning” is notably and unfortunately absent, she also takes two requests from the crowd in deeper career-cuts “Nashville” and “Rent”. The latter is entirely unplanned, but she jumps at the challenge to respond to the audience member who claims she cries everytime she hears the song. Locking eyes with her, CMAT embarks on a four minute side-mission to make sure she is held to her word and has tears in her eyes by its end, “you and me, babe… let’s go.”

Whilst they may be acoustic renditions, CMAT ensures the performances don’t lack energy and finishes all of them with a determined amalgam of hair whipping and yodelling, revelling in the melodrama. From the tiara she is handed halfway through the gig, to the colours of the Irish flag being emblazoned on the ceiling, everything feels dazzlingly dynamic; live, uninhibited, unpredictable, and ultimately must-see because of it.

Furthermore, whilst booked for a dignified thirty minute set, CMAT makes sure to continue reminding the crowd that if they thought it would only be a half hour gig they “don’t know her at all” and should “get out now.” It’s actually a marvel to see an artist, at a present peak in their career, simply enjoy being on stage so palpably and keen to give the crowd the best, and longest, performance they can.

Battling the crowd’s somewhat stiff energy — something about being in a nightclub at 8pm, most likely — she successfully encourages them to lose their inhibitions and indulge the Dunboyne two-step during the rousing “I Wanna Be A Cowboy, Baby!”. The intimacy of the venue is underlined as she rounds out the show with “Stay For Something” and marches through the pit; a now bonafide CMAT tradition, but one that will soon be bismerched by larger crowds.

If the Record Store performances have proven anything, it is that CMAT is a show-woman through and through. Although her “Very Sexy CMAT Band” may also delight on tour, unafraid to oblige her chaos, clearly all CMAT needs is a guitar, a spotlight, and her signature wit to keep audiences hanging from her every word.

Setlist: "The Jamie Oliver Petrol Station" / "Take A Sexy Picture Of Me" / "Nashville" / "EURO-COUNTRY" / "Rent" / "I Wanna Be A Cowboy, Baby!" / "Stay For Something"