A week after watching the Sex Pistols fill the Piece Hall with snarling punk nostalgia, it was striking to see the historic courtyard just as packed—if not even busier—for CMAT. The atmosphere couldn’t have been more different, yet it was every bit as electric. On one of those perfect warm Yorkshire evenings, there was a genuine feeling of excitement and affection that spread across the crowd long before the headliner appeared.
Katy J Pearson provided the ideal opening set. From the very first song, her Kate Bush-esque voice and distinctive songwriting stood out, even within the full band arrangement. There was an understated quality to her stage presence, almost shy between songs, but that simply allowed the music to remain front and centre. Songs such as Talk Over Town and the superb Take Back the Radio sparkled, demonstrating why she’s held in such high regard by fellow songwriters. It was fitting, then, that CMAT later paid tribute to her support act with an affectionate impression while thanking her, underlining the admiration that clearly exists between the two artists.
From the moment the brilliantly named Sexy CMAT Band took to the stage for an extended version of The Jamie Oliver Petrol Station, it was clear this wasn’t going to be an ordinary pop show. Ciara Mary-Alice Thompson – the name that gives us the acronym CMAT – has become one of the most captivating live performers around, effortlessly combining razor-sharp songwriting with theatrical flair, self-deprecating humour and a voice capable of switching from delicate vulnerability to full-throated power in an instant.
Backed by an exceptional band, every song felt bigger than its studio counterpart. Bassist Willy Bishop was immense throughout, his playing providing the heartbeat of the performance while never losing its pulsating edge. Holly Carpenter added beautiful violin lines and harmonies that coloured so many of the arrangements, while Colm Conlan’s keyboards anchored the sound and provided a perfect foil during Where Are Your Kids Tonight? Guitarist Jack Wolter and pedal steel player Daniel Vildósola added texture and warmth, while special praise also belongs to the band’s new drummer, making her debut after travelling from New York and looking completely at home from the very first beat. What they all do though is add to the performance, in terms of interaction, musicality, movement and theatre’ and it’s brilliant to watch.
The set ebbed and flowed effortlessly. I Don’t Really Care for You and 2 Wrecked 2 Care crackled with energy, while When a Good Man Cries and the acoustic performance of Nashville reminded everyone just how accomplished Thompson is as a songwriter. Aw, Shoot! and Have Fun! kept the momentum high, balancing infectious melodies with lyrics that reveal far more beneath the surface.
One of the evening’s defining moments came with a stunning rendition of Kate Bush’s Wuthering Heights, dedicated to the director of the Brontë Parsonage Museum. It could have been a novelty, but instead became one of the performances of the night, showcasing the remarkable control and range in CMAT’s voice while the audience sang along with delight.
If that demonstrated her vocal prowess, Take a Sexy Picture of Me proved why she has become such a magnetic live act. It undoubtedly drew the biggest reaction of the evening, the Piece Hall erupting as thousands sang every word back at her. Funny, defiant and deeply personal all at once, it perfectly encapsulated everything that makes CMAT such a compelling artist.
The closing run of EURO-COUNTRY, I Wanna Be a Cowboy, Baby! and Stay for Something ensured nobody left standing still. The joyous communal dancing that accompanies Cowboy, Baby! has already become something of a CMAT tradition, while Stay for Something brought the evening to an emotional and uplifting conclusion.
CMAT has often joked that she makes music “for the girls and the gays”, but nights like this show just how far beyond that description she has travelled. This was a crowd united by brilliant songs, outstanding musicianship and an artist who seems destined for even bigger stages. Halifax didn’t simply witness another excellent concert—it felt like watching an international pop star continuing her ascent.
pictures: Huw Williams
