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CMAT is a Dublin-born writer who turns country-pop into diary entries with big, singable hooks.

Sharp twang, sharper jokes

Her stage name is literally her initials, and the songs swing from sharp jokes to raw regret. Live, she leans on storytelling and crowd chat, a step up in scale since her second album Crazymad, For Me pushed her into bigger rooms.

What you might hear

Expect a set built around I Wanna Be a Cowboy, Baby!, No More Virgos, I Don't Really Care For You, and Stay For Something. You will see country-curious pop fans, indie kids, and day-one supporters mixing happily, with sequins, cowboy boots, and handmade lyric tees common but not required. Less known: before this solo run she played in an early duo project, and she often slips film references into lyrics, like naming a song for Peter Bogdanovich. Please note: setlist picks and production touches here come from informed inference, not a fixed script.

The CMAT Scene: Glitter, Boots, and Big Choruses

The room feels social and self-styled, with lots of western shirts, bolo ties, glitter eyeliner, and a few DIY rhinestone hats.

Western glam, zero pretense

People trade lyric jokes in line and compare boots, but it stays friendly and low-pressure.

Chorus culture, kindness first

Chants pop up between songs, often calling her name or repeating a punchy line until she answers with a grin. Merch skews bold and text-forward, with simple fonts, a photo tee or two, and a tote that will show up at supermarkets for months. You will hear full-voice singalongs on I Don't Really Care For You and a loud cheer the moment the No More Virgos intro hits. The vibe reads like a queer-friendly barn dance crossed with an indie gig, where humor and care live in the same space. People come ready to listen to verses, then throw hands up for choruses, and nobody minds when a joke turns into a group sigh.

How CMAT Sounds Live: The Nuts and Bolts

CMAT sings in a clear alto with a light country lilt, hitting punch lines without losing the ache underneath.

Hooks first, then the sting

The band centers guitar, bass, and drums, with keys adding shimmer and a player swapping in pedal steel or baritone lines for weight.

Small shifts, big payoffs

She often stretches a bridge by a few bars to let the room echo a title phrase, then snaps back into the chorus for a bigger release. On quieter numbers, acoustic guitar and dry vocal sit up front, then harmonies stack in a chorus to feel like a small choir. A neat live quirk: she sometimes drops the first verse of I Wanna Be a Cowboy, Baby! to half-time, so the hook lands like a door swing when the beat returns. Tempos stay brisk but not rushed, and the drummer uses tight, side-stick grooves to keep space for the words. Lighting changes color by mood rather than spectacle, with warm ambers for story songs and cool blues for late-set ballads.

If You Like CMAT, You Might Like These Too

Fans of Kacey Musgraves gravitate to CMAT for the same blend of satin-country gloss and plain-spoken confession.

Kindred spirits on the road

Orville Peck overlaps through twang, drama, and a show that treats camp as craft rather than a gimmick.

Why the overlap

If you like the cathartic, choreography-lite pop of Self Esteem, you will hear kinship in CMAT choruses that ask the whole room to sing. Chappell Roan fans should connect with the queer-friendly, outfit-forward crowd and the wink in the stage banter. All four acts value melody first, but they let guitars, synth pads, and steady grooves carry the story without drowning it. That makes the night feel inviting even if you arrived knowing only one song.