Cowboys everywhere. Boots, hats, shirts, jewelry, all in the loudest colors (and rhinestones) imaginable. Walking into Music Hall of Williamsburg for CMAT’s sold-out performance was like watching the campiest fashion runway from the first row.
Hailing from Dunboyne, Ireland, Ciara Mary-Alice Thompson, also known by the acronym CMAT, jokingly asserts that she is “an international pop sensation,” a “very big celebrity,” and a “global pop star.” However, with two successful LPs, sold-out shows in both Europe and America and a very…cheeky (https://www.instagram.com/p/C4BkcaPMtZH/?img_index=1) nomination for the Brit Awards, she’s not far from the truth.
With her wild fashion sense, it was no wonder the audience took a cue. That’s the thing about a CMAT show; her fans, multiplying by the minute, are wholly devoted to her. Whatever CMAT does, her fans follow.
Prior to her set, Sheena Easton’s “Morning Train (Nine to Five)” blared over the speakers as a spotlight swept the stage. CMAT noted that this song helped inspire her latest LP, 2023’s CrazyMad, for Me. Inviting her fans into her world is something CMAT effortlessly does, an open book with communal pages. It’s this rapportthat undergirds her fanbase and connects them not only to CMAT but to each other.
After the song ended, the cheers began as the band, followed by CMAT, entered the stage. Beginning with “California,” the first song on CrazyMad, for Me, the venue erupted.
A CMAT show is more than a concert; it’s instead a circus, a musical merry-go-round of infectious spectacle. CMAT herself is a born performer, a live wire sheathed of its skin, dramatically writhing around the steps and crawling all over the stage. Her voice astounds, hitting every note both high and low, never once faltering. She adds her sense of humor as well, often striking theatrical poses and holding them until the audience thunderously applauds.
CMAT effortlessly worked the eager crowd, peering into the audience and checking out everyone’s clothing choices. She was especially enthused by a shamrock crop top worn by one of the male audience members in honor of her country. She made sure to note a fuzzy pink cowboy hat, and, of course, the Irish flag some attendees brought. It was striking to see how attentive she was to her fans, an attentiveness that they in turn gave back.
Judging by how cohesive the set was, one might have thought CMAT was a band as opposed to a singular artist. Each member brings their own personality to the table, most notably Colm Conlon, CMAT’s keyboardist. He joined her on vocals and silly, synchronized dancing. Conlon added so much fun and breathed even more life into the performance, which was, prior to his entrance, unthinkable.
CMAT puts all of herself into a performance. She gives every bit of energy she has. During one of the best parts, she performed a hit song off her first record, If My Wife New I’d Be Dead. “I Wanna Be a Cowboy, Baby” is the song that inspired most of the fans’ sartorial choices. CMAT requested that everyone in the venue do the two-step, issuing a mock warning that she’d stop the song if she spotted an audience member not dancing along.
No one in the New York City area would likely be caught dead if found engaging in such an act. But in Williamsburg, where weirdness abounds, the crowd enthusiastically obliged her, cowboy boot heels clicking rhythmically across the floor.
Saving one of the best for last, “Stay for Something,” CMAT instructed the audience to get as close to each other as possible. Everyone took their cue and immediately piled in as she reminded them to get their cameras out towards the end. Aided by a smaller venue, a massive contrast to her usual gigs in Europe, CMAT crowdsurfed to fans’ delight. Sailing on their hands, lifted up for all to see, was a dream. High-kicking off the stage, the night sadly ended.
CMAT is a star, a person who values oddness and fun, yet makes serious (though at times funny) music about life’s ups and downs, all the hope, joy, and despair. Her music has something for everyone, spanning country, rock, and pop.
A note from the writer/photographer: That night, CMAT became one of my favorite artists. I went into the show not knowing who she was. I left with unbridled bliss and exhilaration and was tasked with a self-imposed mission to see her the next night at the Bowery Ballroom. Unfortunately, I came down with Bronchitis and regrettably missed it. I eagerly await CMAT’s return to America, and I hope everyone reading this does, too! You don’t want to miss out on her, I assure you.
Ohio-bred indie folk outfit Oliver Hazard swooped through Kansas City last night, lighting up the stage at recordBar — quite literally, with their backdrop and Edison bulbs. The trio brought their melodic magic to a captivated crowd.
To note, it was an audience of mostly Gen Z, carrying Nikon point-and-shoot cameras to capture their memories in a wholesome, “old-fashioned” way. It was a delightful way to spend an otherwise uncomfortably warm Wednesday evening, as the band rolled through their catalog and spoke of singing the national anthem at a Royals MLB game. (You know, as one does.)
Catch Oliver Hazard on one of the upcoming tour dates!
Oliver Hazard Tour Dates: Headline dates June 27 – St. Louis, MO – Blueberry Hill Jul 26 – Jul 28, 2024 – Newport Folk Festival* August 2 – Bozeman, MT – Sweet Pea Festival* August 16 – Huber Heights, OH – Rose Music Center^ Aug 17 – Waterville, OH – Oliver Hazard Day*
w/the 502s Sept 3 – Burlington, VT – Higher Ground Sept 5 – Huntington, NY – The Paramount Sept 6 – Portland, ME – Aura Sept 7 – Baltimore, MD – Baltimore Soundstage Sept 8 – Cleveland, OH – House of Blues Sept 10 – Louisville, KY – Mercury Ballroom Sept 14 – Charleston, SC – The Riviera Theater Sept 15 – Charleston, SC – The Riviera Theater Sept 16 – Asheville, NC – The Orange Peel Sept 18 – Athens, GA – 40 Watt Club Sept 19 – Raleigh, NC – The Ritz
Headline dates Oct 16 – Toronto, ON – Horseshoe Tavern Oct 17 – Syracuse, NY – Funk ‘n Waffles Oct 18 – Concord, NH – Sound and Color Festival* Oct 19 – Hamden, CT – Space Ballroom Oct 20 – Cambridge, MA – The Sinclair Oct 22 – Philadelphia, PA – World Cafe Live Oct 23 – Brooklyn, NY – Music Hall of Williamsburg Oct 24 – Washington, DC – Union Stage Oct 26 – Lexington, KY – The Burl
This was my second year witnessing the greatness of Big Freedia at Boulevardia. (I have been lucky enough to see her twerking class at Bonnaroo in years past as well, thankfully.) The hottest weekend of the year so far in Kansas City, this weekend slot of the biggest beer and music festival in the area is always sweltering. And Big Freedia always brings the attitude and energy to make that heat bearable.
What I love about a Big Freedia performance is that, as I walk around the perimeter of the main stage area, I can see people in every direction realizing she is on stage, or hearing dance music, and running in her direction. What an insane power to have. What a great thing to get to see in my life. Here, some early highlights. (And we have gifs to come!)
As a music nerd, it’s fun to listen to new releases and try to figure out where an artist’s influences come from. However, it takes talent and real musical ambition to not just seem like an admirer of certain inspirations with nothing original to say. Inside Out, the new album from Florida-based singer-songwriter Jason Montero, wears its influences on its sleeve yet keeps things fresh with new ideas. It’s a record clearly worshiping a lot of classic rock but focusing deeply on grooves, shared chemistry between band members, and varied instrumentation to be a consistently enjoyable listen.
Montero, a guitarist and longtime performer in bands local to the Phoenix area (Honey Child, The Limit, The Wood Band), explained that this album specifically resulted from dusting off some late-80s/early-90s songs he never ended up recording. For the studio recording sessions, several old bandmates and friends from his life helped to contribute parts, and everyone’s enthusiasm for the project clearly shines through. Every song sounds like a portion of a fun afternoon jam session, with the backing band getting ample opportunities to contribute, whether it’s for rhythm or simply texture and atmosphere.
The first half of the album surprised me with how danceable and almost funk-driven it was. Songs like “No James Dean”, “Criss Cross”, and lead single “Thorn” all have delightful swinging grooves that’s toe-tapping fun throughout their entire runtime. The emphasis on hand drums and shakers during certain tracks turns what could be simple bar band blues-rock into something more worldly and cultured than expected. Sometimes the songs reminded me of Paul Simon’s Graceland or even Vampire Weekend’s early world music excursions. A song like “Conclusive Illusions” has layers of sounds to it, but each instrument develops tightly together into complex polyrhythms. It’s impressive at the level of musicianship present during certain songs.
The second half of Inside Out is less upbeat, introducing elements of folk and psychedelia. “Marvel at the Rainbow” and closer “Her Majesty’s List” are sweet and earnest, mainly featuring Montero with soft and gentle acoustic guitar playing. Speaking of which, his acoustic and electric guitar work are consistently great, with the latter getting to shine on heavier songs like “Gomorrah” and “Rebecca”. Montero’s vocals, like a lot of classic rock singers, are more about their grit and gruffness than necessarily their technical ability, and they complement the bluesier songs well enough. He also produced the album himself, and the sound of the production fits perfectly. It’s very natural and rural sounding to match the vintage influences and shines during the more acoustic sections of the record.
Inside Out isn’t perfect and may rely too much on classic rock conventions for some, yet that’s part of why it works. Going back to these old songs written decades ago was clearly a nostalgia-driven exercise for Jason Montero, and that passion shines through in every song. If he had rewritten and updated them from the work of a less experienced singer-songwriter, the initial appeal of recording the songs, to begin with, would be lost. As it is, Inside Out is a time capsule of songs that aren’t confined to the decades originally written from.
The headliner of night 1 at Boulevardia 2024 was Milky Chance, a band the event’s organizers had been trying to contract for years. They were giddy as they introduced them, as the night set in on the streets of downtown Kansas City. The band was as fun as ever and the music created an entirely standalone vibe in the main stage. Milky Chance kind of sprinkles magic where they go with their feel-good energy. Photos below to prove it.
Love them or hate them, bands that were popular at the turn of the century are making a comeback. And Hanson? They never really went anywhere. After going indie when their label failed them professionally, the three-brother band has maintained a brand – with multiple creative endeavors within it, including a beer company, tiered fan club membership, collaborative fan community, and more – that has continued to serve them and their growing family over the years. They have consistently toured, continuously contributed to nonprofit funding efforts, and continue to deliver new music as a sibling project year after year.
On Friday, June 14th, Hanson entertained a large crowd gathered in front of the Visit Missouri main stage at Boulevardia in Kansas City, Missouri. There, they announced the release of their new peach cider venture – that comes in honor of the 20th anniversary of “Penny & Me” – that they would be pouring themselves at the Taps & Tastes event the following day.
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Boulevardia draws thousands to the Kansas City area every Father’s Day weekend for an interactive beer and music festival, with local makers and food vendors galore.
