Gig review: CMAT at Scarborough Open Air Theatre

With the colour drained from the coastal town and sporadic drizzle looming, the blue hues of CMAT’s band played an important part in the life they gave this July evening.

Before the Dunboyne Diana’s entrance, however, Katy J Pearson was welcomed onstage. A perfect support for the night’s celebrations, her wondrous voice, baggy rhythms, and almost Madchester type of psychedelic guitars instantly induced dancing and sing-alongs over a warm atmosphere.

Beautiful Soul took the set into a melancholic realm, a great example of this communal quality, the backing and lead vocals, and cascading chorus, excelling in a distinctive demonstration of a modern PJ Harvey. They departed from hazy dream pop with a resounding performance of tracks that echoed the raunchy indie of Wet Leg.

Newer tracks highlighted Pearson’s versatility and poise, as abstract imagery and undulating shoegaze-y rhythms added brightness: Maybe was the ultimate example of buoyant and melodic jangle pop gold.

A staggered arrival of the CMAT band raised the anticipation even higher before CMAT herself arrived to rapturous applause and began jubilant cries of ‘Scarbados!’

Reinforcing CMAT’s ‘euro-country’ sonic template, the fiddle and pedal steel guitar was a stirring burst of momentum on the opening two tracks, The Jamie Oliver Petrol Station and I Don't Really Care For You, mixing well with the former’s passionate crowd singing.

The latter had a lavish interlude, from laughter-inducing warm-up routine to a classic, precision-choreographed routine. This kaleidoscopic camaraderie led perfectly into the song’s cabaret-esque climax, as she climbed the neon stairs for its voluminous vocal requirements.

The mass sing-along continued on When A Good Man Cries, another choice from CMAT’s cultural sensation Euro-Country, her voice becoming emotionally gripping while maintaining her smooth vocal agility during the down-on-both-knees, emphatic performance.

CMAT then gave one of many anecdotes, poking fun at the concert’s sponsor, TK Maxx, her former employer. She was soon revolving through tales of customers’ unspeakable antics and an impromptu try-on session of the branded bucket hats.

This unique humour enabled a practically unrivalled connection, even among major, experienced pop performers. There were several related highlights: an audience member moved to tears by her affectionate wisecracking, the Irish musician celebrating a six year-old’s first CMAT gig, and continuous giggles about the quality of an unofficial CMAT T-shirt bearing the Jamie Oliver deli logo. Another sign was held by ten year-old Monty, seeking to play guitar on the latest album’s title track, a request more lovingly granted than most acts.

Speaking of pop, Running/Planning confirmed the vast power in the Mercury-nominated artist’s songwriting and voice, commanding the stage from entertaining positions – the cinematic chorus as galvanising as legends like Adele – that heightened the stoic emotional heft.

Two softer slow-burners followed, beloved rarity Rodney and sweeping ballad Coronation Street revealing the fragility in her saccharine vocal instrument. Such A Miranda had a similar trance-like effect – accompanied only by her acoustic guitar, the performance complimented the lyrics’ gritty relatability.

As promised, CMAT delivered incredible fun, the set’s musical and non-musical elements equally successful; seeing the entire audience sway for the ‘CMAT two-step’, before enjoying the glorious hooks of Stay For Something, made it all the more memorable in its closing chapter.